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For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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.