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‘[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
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moved by Puccini’s melodramatic romance, encouraged me to think more
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For the Late Night concert after the Saturday series, fifteen Berliners
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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
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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.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
19 Apr 2009
Die Entführung aus dem Serail at Chicago Lyric
In its new production of Mozart’s Die Entführung aus dem Serail (The Abduction from the Seraglio) Lyric Opera of Chicago has achieved a fusion of eighteenth-century sensibilities with a modern adaptation of traditional dramatic and stage techniques.
The result is a
production that is both entertaining and respectful of the score and text, with
a uniformly high level of singing as well as dramatic commitment. The Lyric
Opera Orchestra is led by Sir Andrew Davis, who elicits crisp playing with, at
times, broad strokes to suggest the forthcoming dramatic urgency,
complications, and eventual resolutions.
Already during the overture to this production the traditional concept of a
dramatic frame is used to highlight perspectives on the forthcoming action. As
will be revealed during the opening numbers of the first act, Konstanze and her
attendant Blonde have been captured at sea and are now held at the court of the
Pasha Selim. For the present production, through the course of the spirited
overture, the figure of an elderly man is seen picking up roses strewn on the
ground; further, he seems to be caught deep in silent contemplation, perhaps
musing on events of the past. As the overture draws to a suggestive close, the
lighting dims on this figure so that he is obscured, shortly before a trap door
in the center of the stage opens. The audience has been effectively transported
into the reverie of the now aged Pasha, as he recalls his attempts in the past
to force the affections of the captive Konstanze. Indeed out of the trap door
now climbs Belmonte, the nobleman who, in the recollection of the Pasha, has
come in search of his beloved Konstanze. In the leading tenor role of Belmonte
Matthew Polenzani has found an ideal match for his vocal talents. The urgency
of his emotional quest becomes immediately apparent as he climbs up onto the
stage and begins “Hier soll ich dich denn sehen” [“Here I
hope to finally see you”]. In this first aria Polenzani demonstrates the
effect of his elegant vocal line, a requisite in Mozart’s extended arias
composed for tenor in the Entführung. The seemingly endless flow of
“Bringe mich ans Ziel” [“Help me to reach the goal”],
sung here by Polenzani with admirable legato as he gazes at a
miniature portrait of Konstanze, underscores Belmonte’s commitment to
finding and saving his beloved. Of course all manner of obstacles will present
themselves, such as the immediately following exchange with Osmin, lead servant
of the Pasha. Belmonte persists in asking if he has truly come upon the palace,
while Osmsin seems distracted by amorous determination with women from the
harem. In the role of Osmin Andrea Silvestrelli projects an appropriate
gruffness while negotiating the vocal line with considerable variety. In the
first part of his duet with Belmonte Silvestrelli’s sonorous bass
emphasizes Osmin’s self-absorption while ignoring the visitor’s
queries. When Belmonte mentions the name of his squire Pedrillo, who was
captured along with Konstanze and her maid Blonde, Osmin’s attention is
quickly riveted to the immediate situation at court. He unleashes a spirited
attack on intruders, in which he declares full awareness of their villainy.
This diatribe is sung with comic lyricism by Silvestrelli, only losing some of
the syllables in the fastest passagework. As Pedrillo enters for a happy
reunion with his master Belmonte, the two hatch a plan to introduce the
nobleman as an architect offering his services to the Pasha. In the role of
Pedrillo the tenor Steve Davislim poses an ideal foil to his love-lorn and
anxious master. From this point to the close of the first act Davislim
encourages and cajoles, at once weaving between the threats of Osmin and the
dignified grandeur of the Pasha. In his extensive parts performed in dialogue
during these scenes Davislim’s idiomatic command of German adds to the
effectiveness of his character’s portrayal.
(l-r) Erin Wall (Konstanze), Andrea Silvestrelli (Osmin), Aleksandra Kurzak (Blonde)
Once Belmonte learns from his squire that Konstanze has survived and has
remained faithful, he sings the well-known aria “O wie ängstlich, o wie
feurig” [“O how anxious, o with what passion!”] in order to
describe the feelings pulsing from his heart. Polenzani’s carefully
projected legato and soft notes support a convincing interpretation
with dramatic spirit. At first, he touches his cheek to emphasize a line
(“Es glüht mir die Wange” [“My cheek is glowing”]),
before he intones “feurig” (“fiery”) with decided
conviction, repeating and varying the aria’s fist line. Once he and
Pedrillo leave the stage, Konstanze enters in the company of the Pasha. In her
response to her captor’s urging that she submit to his affections,
Konstanze protests that she still loves Belmonte. In her aria “Ach, ich
liebte” (“Ah, but I loved”) Erin Wall in the soprano role of
Konstanze confirms her reputation as a fine Mozart singer. In this first aria
Ms. Wall maintains firm control of the vocal line with notable decoration while
investing great feeling in her intonation of the text. In this sense, she and
Polenzani are well-balanced vocally as the lovers awaiting reunion beyond
daunting obstacles. Konstanze is now granted only one day further by the Pasha
in order to yield to his demands.
The final scene of Act I demonstrates not only the importance of ensemble in
Mozart’s Entführung but also the success of Lyric Opera’s
new production at rendering both drama and music in scenes involving groups.
Once Pedrillo introduces Belmonte to the Pasha as an aspiring architect, a door
lifts at the stage center symbolizing the entrance to the palace garden. Osmin
stands guard and refuses admission to the two intruders as he sees them. During
the following trio sung by the male principals, the slaves and members of the
harem move about the stage with ballet-like effect, the door as symbol
remaining a goal thoughout the weaving movements. As the act concludes,
Belmonte and his squire escape into the garden while the moving chorus prevents
Osmin from stopping them at the door.
Matthew Polenzani (Belmonte), Steve Davislim (Pedrillo), Erin Wall (Konstanze), Aleksandra Kurzak (Blonde)
At the start of Act II the comic scene between Blonde and Osmin sets the
tone for their encounters during the remainder of the opera. Osmin’s
commands to Blonde that she should immediately love him are met with indignant
reminders that European women are not accustomed to such treatment. As
Alexandra Kurzak in the role of Blonde reminds her pursuer with the words
“Denen begegnet man ganz anders” [“One treats such women
quite differently”], she begins her aria ‘Durch Zärtlichkeit und
Schmeicheln” [“With tenderness an flattery”] on a note of
superiority. Ms. Kurzak had been unable to sing the first performance because
of illness and was making her debut during the performance reviewed. Her
impeccable diction and sprightly acting fit the character of Blonde admirably,
while the line and vocal command shown here and in later arias and ensembles
demonstrate the work of an accomplished Mozart singer. In the following
extended scena Konstanze sings at first of her suffering and
subsequently declares her intention to remain faithful to her lover until
death. Ms. Wall performs this two-part scene with exemplary focus on the text,
her repetitions of “Traurigkeit” [“Sadness”] in the
first part addressed to Blonde being invested with a genuine communication of
feeling. The staging at this point draws on poses and techniques reminiscent of
eighteenth-century practice, with a simplicity underscoring the effective
acting of the principals. After comparing her life to a “rose
blighted” that “withers away,” Konstanze again faces the
Pasha who reminds her that the deadline has arrived. Her response, the aria
“Martern aller Arten” [“Torments of all kinds”] as the
second number in this extended scene, is sung by Ms. Wall with dramatic flair
and a confident, firm use of coloratura decoration. The well-deserved ovation
given the performance of this vocal showpiece of the opera was a comment not
only on the exquisite singing but also on the use of voice as an instrument in
acting. During the aria a shallow revolving platform at the stage center kept
the Pasha and Konstanze at a measured distance from each other; the rotating
structure is used again later in the act when Pedrillo outwits Osmin and
praises the power of wine.
The remaining scenes of the second act give rise to the hope of escape.
Pedrillo appears in numbers together with his Blonde and with his master
Belmonte. Both Davislim and Kurzak excel vocally in their solo reactions to
plans hatched to free Konstanze. Ms. Kurzak introduces well-placed
appogiaturas and dwells significantly on the word “Herzen”
[“heart”]. Davislim uses his upper register to great effect
especially when he sings forte on the phrases “Es sei
gewagt” [“Let us dare the deed”] and “zum
Streite” [“to the fight!”]. His comic scene with Osmin, the
latter falling into a drunken stupor despite his protests, shows a firm sense
of timing and stage gestures. After Belmonte’s re-entry the two couples
are finally united. The quartet “Es lebe die Liebe” [“May
love last forever”] brings to a close a series of alternating accusations
and reconciliations, here supported by vigorous and tasteful orchestral
At the start of the final act Polenzani delivers a memorable account of
Belmonte’s final aria, “Ich baue ganz auf Deine Stärke”
[“I build totally on the reliance of your strength”]. The use of
pianissimo and extended notes, as seen in the performance of earlier
arias, achieves a highpoint in the execution of this piece. As the men prepare
to abduct Konstanze from the garden, while Pedrillo sings a vocal
accompaniment, each character is trapped individually by the Pasha’s
servants until the squire himself is caught as the last. The Pasha is at first
surprised to learn of this deception at court, then indignant when he realizes
that his trust in the alleged architect has been compromised. The duet
performed by Wall and Polenzani as they swear to die together in love
[“Mit dem/der Geliebten zu sterben”] features a lyrical and
dramatic expression of their devotion that naturally follows from their earlier
characterizations in this production. The Pasha relents when he admits to Osmin
that one cannot force love, and that it is preferable to be remembered for
one’s generosity. As all are permitted to leave, the four principals sing
together with the chorus in praise of the Pasha’s enlightened rule. His
reverie thus comes to a happy and satisfying close.