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This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
19 Apr 2009
John Mark Ainsley Sings Schubert at Jerwood Hall, London
Schubert’s music ‘suggests a rippling movement and by the side of the rippling a flowering: it has the variety and unsurprising naturalness of moving water and springing herb’ (Capell) and this same naturalness and sense of flowing ease are the very qualities which make John Mark Ainsley such a special interpreter of this composer.
Ainsley has been singing and recording Schubert for some 17 years now, and in place of the youthful ardour which characterized his early performances we now find a deeper, more subtle understanding, yet still with his distinctive tenderness and perfect balance between ‘Ton und Wort.’ His recent major successes on the operatic stage seem to have informed his interpretations to a very marked degree, especially in the more tempestuous songs.
This carefully designed programme had enough of the more ‘charming’ songs to please the casual listener, yet the finest singing (and playing) came in those set to the intense, melancholy poetry of Mayrhofer. ‘Atys’ is an unjustly neglected song, its fervid telling of the story of the youth driven to madness, castration and suicide by the goddess Cybele not exactly ideal material for lunchtime, but in this performance the ‘unergründlicher Schmerz’ was made real in singing replete with subtlety as well as fervour. ‘Lied eines Schiffers an die Dioskuren’ is one of Mayrhofer’s more serene lyrics, and Schubert’s exquisite setting of it drew from Ainsley the most perfect mezza-voce, secure legato line and sense of reverence for the music’s natural phrasing.
As a rule, I can live quite happily without tenors singing the likes of ‘Wilkommen und Abschied’ and ‘Auf der Bruck,’ but here we were treated to performances which concentrated much less on the hearty, ‘I—have—a jolly—horse’ aspects and much more on the dramatic narratives. The lines ‘Und Zärtlichkeit für mich—Ihr Götter! / Ich hofft’ es, ich verdient’ es nicht!’ (Tenderness, for me? Ye Gods! I hoped for that, but didn’t deserve it!’) in the former were sung with the kind of heartfelt openness which always endears a singer to an audience, and in the latter the intensity of the ride was finely assuaged with a last line in which the phrase ‘süsses Ahnen’ was given just enough intensity to make it moving, but without any false swagger or artifice. Roger Vignoles played the rapid chords as though they were the easiest music ever composed.
‘Die Sterne’ was for me the high point of the recital, with such perfect legato line, such sensitivity to the words and such, for want of a better term, ‘Innigkeit,’ that it’s hard to imagine a better performance of this wonderful song. We came back to Mayrhofer again for the encore, with ‘Erlafsee’ an ideal choice to close a programme so finely balanced between ‘wohl’ and ‘weh.’ This first in a series of Schubert recitals will be broadcast on BBC Radio 3 on Tuesday May 12th at 1.00, with the remaining recitals performed on Thursdays April 23rd and 30th and May 7th.