Recently in Reviews
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO. True, Opera North will bring its concert Ring to the South Bank, but that is a somewhat different matter. Comparisons with serious houses, let alone serious cities, are not encouraging, especially if one widens the comparison to nineteenth-century Italian composers. Quite why is anyone’s guess; the composer is anything but unpopular. More to the point, Wagner and Mozart should stand at the heart of any opera house’s repertory. They can hardly do so if they are so rarely performed.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism].
22 Mar 2009
Songs by Samuel Barber
Among the impressive contributions to the American song literature of the twentieth century are works by Samuel Barber (1910-81), whose efforts in this genre reflect his own musical training as a singer, as well as the influence of his aunt, Louise Homer, whose professional relationships put her nephew in contact with other vocalists of the day.
Among Barber’s contributions are a number of sets of songs from throughout his career, works that are heard periodically in performance and available in various recordings. This selection by Gerald Finley and Julius Drake offers a fine cross-section of Barber’s songs on a single CD and collects his set of Hermit Songs, Op. 29; Mélodies passagères, Op. 27; Three Songs, Op. 10; Dover Beach, Op. 3; and several individual songs. Lacking, of course, Knoxville 1915, Op. 24, since it was intended for soprano and orchestra (albeit performed by tenor), this recording of Barber’s song is a rich selection which captures the composer’s major efforts in the genre in interpretations by two of the finest performers of the day.
The spiritual aspects of the Hermit Songs implicit in the texts require the clear and fervent execution Finley and Drake offer. With texts from various sources, primarily translations of Medieval verse, the turns of phrases in modern English are nicely supported by Barber’s music. The plaintive quality of “The Crucifixion” reflects simultaneously the vocal idiom of an earlier time and yet the dissonant idiom that Barber used to punctuate the music contributes to the welcome complexity of the song. Julius Drake’s approach to the accompaniment of this song and the one that succeeds it in the recording, “Sea Snatch” by making the pianistic touches work well with Gerald Finley’s sensitive interpretations of the works. Such details emerge aptly in Finley’s delivery, not only in shorter settings, like “St. Ita’s Vision” (translated by Chester Kallman) but also in one of the more extended songs, “The Monk and His Cat” (translated by W. H. Auden). One of the particularly moving performances is that of “The Desire for Hermitage” (translated by Seán O’Faoláin), which, as the culmination of the cycle, serves as a kind of summary of the entire set.
The sometimes angular settings of English-language translations receipt apt settings by Barber, but his craft at composing the French artsong is apparent in the set of Mélodies passagères, which are based on verse by Rainer Maria Rilke. These sometimes enigmatic poems bear rehearing for the nuances of the texts, and Finley’s approach invites returns to the songs to capture some of the details he and Drake bring to the music. “Un cynge” (“A swan”) receives its appropriate delicacy, a quality implicit in the music and effectively rendered in this performance. The subtle accompaniment works well with Finley’s sinuous approach to the text. Yet the entire set merits attention for the well-placed details that beg for a repeated hearings not only of the music, but also this compelling performance.
In addition to these pieces, the performers include a selection of Barber’s earlier songs on this recording. Some of the music is quite familiar from vocal recitals of various performers, as is the case with “Sure on Thdsis Shining Night,” a work that receives fresh treatment from Finley and Drake. The pacing of the vocal line and accompaniment are key to the interpretation found here, with model phrasing between the strophes of the verse. Equally impressive is Barber’s early masterpiece, Dover Beach, which involves the Aronowitz Ensemble. Part of the select vocal repertoire which involves chamber music, like Schubert’s Der Hirt auf dem Felsen (“The Shepherd on the Rock”), Dover Beach retains a special place in vocal literature. The maturity that Finley brings to the work is clear from the start, and as the piece progresses, the performance demonstrates an incredible level of involvement.
In this piece and the others on the recording, Finley shows himself to be a major interpreter of Barber’s music. Just as he is impressive on stage in such a powerful role as Robert Oppenheimer in John Adams’ opera Doctor Atomic, Finley is also commanding in the more intimate solo vocal literature. This is a fine addition to recent recordings of twentieth-century song, and also an impressive contribution to the discography of Samuel Barber.
James L. Zychowicz