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Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

A Venetian Double: English Touring Opera

Francesco Cavalli’s La Calisto was the composer’s fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Walter Braunfels : Orchestral Songs Vol 1

New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.



Edition Staatskapelle Dresden Vol. 13
19 Apr 2009

Pfitzner and Strauss by Staatskapelle Dresden

In the continuing series of releases to document the recorded legacy of the Staatskapelle Dresden, vol. 13 collects music by Hans Pfitzner and Richard Strauss with performances from 1939 through 1944.

Hans Pfitzner: Symphonie für großes Orchester C-Dur; Richard Strauss: Don Juan;Till Eulenspiegel; Salomes Tanz aus "Salome";Festouvertüre op. 61
Edition Staatskapelle Dresden Vol. 13

Sächsische Staatskapelle Dresden. Karl Boehm, Kurt Striegler, conductors.

Profil PH 07010 [CD]

$16.99  Click to buy

This CD includes Pftizner’s Symphony for Large Orchestra in C Major, Op. 46, which was recorded in January 1941 and released on LP in March of that year. Conducted by Karl Böhm, this recording captures a performance by a conductor who knew the composer firsthand. This historic release benefits from nicely restored sound, which brings an exciting performance from a single recording session. If Pfitzner is known today more for his contributions to opera, particularly Palestrina, his efforts at symphonic composition are by no means insignificant. Among his three symphonies, the Op. 46 work in C major is certainly convincing. The heroic-sounding themes suggest a post-Romantic idiom, which certainly helped to keep this and other, similar works in performance during the Third Reich, when this recording was made. This Hänssler release presents the work in a single, continuous band, which could benefit from divided into three, in order to make the three movements of the Symphony more readily accessible.

The remaining pieces in this volume are works by Richard Strauss, a composer with whom Böhm had a long association. While Böhm’s later recordings are, perhaps more familiar to modern audiences, this reissue offers solid readings from the conductor’s younger days. Consistent with Böhm’s reputation for convincing performances, the recordings demonstrate his fine sense of pacing and dynamic balance, which is apparent even in these relatively early recordings. Don Juan contains a sparkle and verve that brings a sense of immediacy to this recording. The recording techniques for this 1939 recording have a nice, direct sound, with minimal hiss and nice ambience. The virtuosity of the Staatskapelle emerges in the fine ensemble and clear playing of this recording.

Another recording from 1939, the famous “Dance of the Seven Veils” from Strauss’s opera Salome is, perhaps, more familiar from Böhm’s later recordings on Deutsche Grammophon. In the 1939 recording, the excerpt sounds as if it were taken from a performance of the opera. The band opens with brisk tempos and prominent percussion. If the winds sound at first somewhat close to the microphones, they eventually balance the full string sonorities found later in this cut, which are nicely incisive. The percussion, especially the xylophone fit well into the full texture of the piece, and Böhm distinguishes nicely between the agitated rhythmic figure with which the dance begins, and the more romantic motives that intersect the music almost schizophrenically. The performance has a nice drive, which sets up the ending effectively.

Böhm’s performance of Till Eulenspiegels lustige Streiche dates from 1941, and is another solid reading. This more extended piece by Strauss gives further evidence of the Staatskapelle’s fine musicianship and also its longstanding familiarity with the composer’s music. The sound is particularly effective, reflecting in some ways the kinds of sounds found in film scores of the day. Here Böhm is as engaging as he would later evince a solid connection with tradition.

The final selection, which dates from 1944, is a more popular-sounding work of Strauss, the Festliches Präludium, Op. 61. Conducted by Kurt Striegler, this work includes Hanss Ander-Donath, organ, in a work which is certainly less familiar than the other selections found on this recording. Recorded in Dresden’s Frauenkirche, the sound is more resonant than that found in the other selections, which were made in the Semperoper. The venue is appropriate for the inclusion of the organ, which can be heard, but sometimes merges into the mass of sound Strauss used in this work. With its nice combination of familiar works with less performed literature, this recording is more than an historic curiosity. The recordings are spirited and reflect the engagement of the musicians involved with them in works that drew audiences of period to concerts. This release certainly augments the ongoing audio-documentation of the Dresden Staatskapelle with these well-chosen selections made during the Second World War.

James L. Zychowicz

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