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‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
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