Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

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):