25 Mar 2009
Venice's Variable “War Requiem”
I had been looking forward to it for weeks — really, for years.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
I had been looking forward to it for weeks — really, for years.
At last I had a chance to hear Benjamin Britten’s monumental War Requiem live, and experience up close and personal not only the splashy dramatic fire, but also the immediacy and subtlety of the chamber aspects of this infrequently performed masterpiece. And. . .to hear it all under acclaimed maestro Bruno Bartoletti leading the reliably excellent orchestra and chorus of Venice’s renowned Teatro La Fenice.
And really, so far so good. No. . .make that “great.” The amassed forces were impeccably prepared. Starting with the flawless chorus, this was music-making of highest order, characterized by clean diction, awesome ensemble, crackling dramatic outbursts, and heart-breaking melancholy as required. Director Claudio Marino Moretti wrung every bit of drama out of his choristers, and did it without sacrificing accuracy of line or smoothness of blend. First among equals, the alto section particularly sported the richest tone I believe I have ever heard in a choral group.
The Piccoli Cantori Veneziani youth chorus under Diana D’Alessio was also highly affecting with its spot-on, other-worldly, off-stage interjections.
The orchestra, too, had a memorable night. The virtuosic challenges of the colossal score held absolutely no terror for them. Signor Bartoletti shepherded the huge core group of musicians placed on the stage, while Marco Paladin ably led the chamber orchestra in the pit. The thoroughness of the musical preparation was on display at the score’s every page turn with the complementary maestri tag-teaming seamlessly and weaving their disparate bands into a satisfying unified whole.
The stage was outfitted with a big handsome wooden box complete with Le Fenice logo, which only enhanced the lively acoustics. The lower voices did not always have quite the same snarl as the upper voices, but they always had finesse and fullness. Indeed, the complete palette of instrumental solo work had personality, the tutti segments had passion, and the group numbers drawn from the standard Requiem Mass that provide the work’s solid framework, were cause for rejoicing.
However, the heart of the piece belongs to the soloists, especially the two men who present Britten’s pacifist philosophy in the form of musicalized (glorious) poems by Wilfrid Owen.
Soprano Kristin Lewis was quite a “discovery” to me. Her ample, slightly steely dramatic voice seemed a little large at first for the work required. This all-out approach resulted in a couple of unwieldy phrases in the angularity of the “Lachrymosa,” for example. But later, when fire power was truly called for, Ms. Lewis hurled thrilling, pointed, full-throated tone at us, ringing out over the orchestra and chorus in full Geschrei. Just recalling the effect gives me chills all over again. Thrilling. Extra-musical-observation: our soprano was decked out in a socko black and silver sequined gown that dazzled without upstaging.
Tenor Marlin Miller seems to have the goods for the demands of this work. His rather full, lyric tenor is well schooled, his musicianship is quite fine, and his enunciation of the all-important text was clear as a bell. So why was his presentation so unpersuasive? He seemed to be singing “correctly,” cautiously, as if indisposed (although no announcement was made). I would like to think this good singer is perhaps capable of a more committed, more abandoned performance than was on display this evening.
And what to say about the soft-grained gifts of baritone Stephan Genz? I had quite enjoyed his gentle performance in Die tote Stadt at this very theatre some weeks prior. But truth to tell, Mr. Genz had neither the heft of tone, the gravitas, nor the diction to serve the War Requiem. “Bugles Sang,” his first utterance, came out “Boo-Ghells-Seng.” And it repeated. “Booooo-ghells.” “Seng.” And repeated again. It was all “down hill” from there. Or more correctly, “duh-ooon. . heel. . .”
Would any singer who is a native English speaker be tolerated singing Italian or French or German phonetically with a fiercely incorrect accent? (That was rhetorical: No.) We needed an idiomatic vocalist with the burnished tone and communicative gifts of Simon Keenlyside or Nathan Gunn or Gerald Finley. What we got was a Guglielmo in need of Berlitz. For a foreign audience perhaps that was enough. (To his credit, Stephan was intelligent, well-prepared, and worked mighty hard to put his solos across, but he was sadly over-parted.)
For me, the excellence of the chorus and orchestra, beautifully shaped under a seasoned Maestro, almost, but not quite, compensated for the missing poetry of the chamber songs. The thrilling live War Requiem reading I sought seems to still be in my future.