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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
15 Mar 2009
Wagner’s Das Rheingold at Los Angeles Opera
There is some slim irony to an opera company pursuing the complicated business of staging Richard Wagner’s Der Ring des Nibelungen in the current economy — it entails the very sort of dubious compromises that get Wotan and crew into such hot water (if one assumes the cataclysmic fire at the end of Götterdämmerung heated the Rhine).
Placido Domingo’s east coast company, Washington National Opera, has postponed the Ring cycle it had already begun. On the west coast, Domingo’s Los Angeles Opera forges ahead, although next season will see the shortest season of subscription productions ever for the company — just 6. Three full rounds of the Ring cycle will end that season.
Seen on Sunday, March 8th, the Das Rheingold designed and directed by Achim Freyer reinforces the boldness of the company’s venture. Freyer’s style is much more about design and “performance art” than conventional narrative, which even a non-traditional staging such as Cherau’s at Bayreuth keeps as a foundation. When Freyer brought his staging of Bach’s Mass in b minor to the Dorothy Chandler some years ago, the audience strongly disapproved of the stylized pantomime of mummy-like figures, played out behind a scrim. However, a couple of seasons later Freyer came back to present Berlioz’s La Damnation du Faust, in a colorful, energized production that could fairly be called a hit.
The best sections of Freyer’s Rheingold shared some of the positive characteristics of that Berlioz, but there were worrying passages that recalled the distancing, overly clever worst of the Bach affair. Freyer seems most inspired by the outsiders to Valhalla. Loge is the only character who doesn’t either wear a mask or spend most of the performance hiding behind a fabrication of some sort. In fact, throughout most of the performance Wotan appears suspended in a box-like representation of his royal self seated on a throne, with only Vitalij Kowaljow’s face visible (and occasionally his hands). Alberich and Mime wear oversized face masks, which appear much more substantial than they are revealed to be when the singers doffed them at curtain. The design manages to brilliantly capture the troll-like nature of the Nibelungen and still allow the singers to project as if unencumbered. Freyer cleverly suggests the height disadvantage of these characters with an effect of huge platform shoes. The giants Fasolt and Fafner, on the other hand, appear both in the form of the singers, who sometimes raise huge magnifying glasses to their faces, and as oversized doubles — but only doubles of their construction helmets and their huge hands, when they reach out for Freia. Doubles fascinate Freyer; even the Rhine maidens have mirror-image doubles, waving their arms like synchronized swimmers, perhaps as water reflections would.
On Sunday the opening scene never quite pulled together, as Freyer doesn’t permit Alberich to interact with the Rhinemaidens who are, after all, trapped upstage in a huge billowing cloth. When we meet the future Valhallans, they are spread around the circumference of a center platform, and they hardly move from those initial positions. Freyer’s design here strongly suggests he sees Wotan and family as stiff, flat characters, who imagine themselves masters of their destiny but who are actually acted upon. The result was dry and uninvolving, prompting some worries about the later installments of the Ring, which focus on these characters and Wotan’s offspring.
However, it is not unusual for Das Rheingold to be dominated by its Loge, and such is the case here. Arnold Bezuyen actually got to move, in fact, to hop and gambol and even, with the help of some more doubling (and tripling), glide across the stage. Bezuyen has a great voice for Loge, lean yet muscular, and from the time he hit the stage the production came to life. Then Freyer’s magic started to work, as the lower half of the circular platform rose to reveal Alberich’s mines, and Graham Clark appeared as Mime. Such is Clark’s irrepressible stage presence that even behind a huge mask he created a character within seconds. For once, the cartoonish stage effects as Alberich turns himself into a snake and then a frog conveyed a sense of the ring’s power, and the imaginative stroke of having the magical helmet be a golden top hat really paid off when a tiny version appeared on Alberich transformed as a toad.
Freyer’s lighting effects (designed with Brian Gale) did allow for a suggestion of a rainbow bridge, but Valhalla never appeared as more than a sort of floating castle turret. The Rhine reappeared as a blood-red stream at the end, a probable foreshadowing of the carnage to come.
The Rhinemaidens were sung with liquid (forgive me) purity by Stacy Tappan, Lauren McNeese and Beth Clayton. Gordon Hawkins seemed a bit stifled by the staging of the first scene, but he was very impressive once he’d acquired the Rhinegold. Judgment will have to be reserved on the Wotan of Vitalij Kowaljow — the voice is sonorous enough, but it would take a singer of rare charisma to create a character when he spends most of the opera as a face sticking out of a hole in a cardboard facade. Michelle de Young interacts with her consort from across the stage, her movement restricted to a few waves of her oversized arms. Jill Grove’s Erda also sported an extra set — or two — of lengthy limbs. If the staging restricted the creation of characters, it seemed to concentrate both Grove and de Young’s vocal energy, and they both sounded great. Morris Robinson and Eric Halfvarson, as Fasolt and Fafner respectively, almost matched Bezuyen’s Loge for strong singing matched with memorable characterization. In their brief moments, Beau Gibson’s Froh, Wayne Tiggs’s Donner and Ellie Dehn’s Freia all made impressive contributions.
Los Angeles Opera covered the pit for this performance, and of course without the appearance of James Conlon at the dimming of the lights, many in the audience had to be shushed into silence as the low rumble of the first chord seeped out. The sound was surprisingly warm and detailed under the circumstances. Conlon supported the singers, while allowing the orchestra to ramp it up for the descent to the realm of the Nibelungen and the approach to Valhalla. At curtain most of the cast ran on and off stage fairly quickly, but Conlon took a diva-like bow, bathing in the adulation of the besotted LAO audience. Wonderfully, a camera then panned over the LAO orchestra, projected onto the scrim. That’s an innovation worth adopting on a routine basis.
Freyer’s artistry is dynamic and thought-provoking. However, much of the Ring is good old-fashioned story-telling. To what extent Freyer’s style and Wagner’s creation actually work together will perhaps be revealed in the upcoming Das Walküre.