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As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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.
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