Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Benjamin Britten
25 Mar 2009

Venice's Variable “War Requiem”

I had been looking forward to it for weeks — really, for years.

Benjamin Britten: War Requiem

Kristin Lewis, soprano; Marlin Miller, tenor; Stephan Genz, baritone. Bruno Bartoletti, conductor. Orchestra e Coro del Teatro La Fenice. Piccoli Cantori Veneziani.

 

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.

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):