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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.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.
26 Apr 2009
Walter Braunfels’s Die Vögel at Los Angeles Opera
The Recovered Voices series at Los Angeles Opera, in its second season, springs from James Conlon’s fascination and love for the operas of composers whose lives and/or careers came to an end under the Nazi regime.
Thanks to the support of Marilyn Ziering and the Ziering Family Foundation, Los Angeles Opera can bring to the stage operas otherwise unlikely to receive a production at a major house, although at one time most of the operas featured so far or planned for the series had that distinction. In fact, Walter Braunfels’s Die Vögel (The Birds) apparently enjoyed a fair amount of success before WWII threw a shadow over both the opera and its composer. Seen on Saturday, April 18th, that initial success and subsequent obscurity both became understandable.
An allegory adapted from Aristophanes’s play of the same title, Die Vögel begins with Good Hope (Brandon Johanovich) and Loyal Friend (James Johnson) on a search for Hoopoe, leader of the birds. The humans want to join the birds, finding their own species increasingly repugnant (an important aspect undramatized by the libretto). The birds, initially suspect, eventually accept the men, who then motivate the birds to establish a “bird civilization” in the clouds, to rival that of man’s below. This somehow upsets Zeus, as Prometheus warns the birds, to no avail. Zeus strikes the bird civilization with thunderbolts, and the men, realizing their complicity in the disaster, leave. Good Hope exits with a broken heart, however, as he had fallen in love with the Nightingale. There’s too little of Aristophanes’s stinging wit or satire, and most of the opera comes across as a feeble Magic Flute-wannabe, with Good Hope as an ersatz Tamino.
The first act, the shorter of the two, starts with some quite lovely music, including a vocalise for the Nightingale. However, the narrative’s lack of conflict or conventional development means that Braunfel’s score always seems to be excited or passionate about events that don’t warrant the emotional outpouring. The second act picks up the pace somewhat, and the last 30 minutes or so of the opera soars with the birds, as the humans wish to do. The intervention of Prometheus makes no sense, and probably isn’t intended to, but Brian Mulligan sang his set piece with dark gusto. After Zeus’s dramatic attack on the bird city, the birds gather on stage for a gorgeous ensemble, and as the men leave, the Nightingale, a high-lying role for coloratura, reappears, to sing as Good Hope takes his sad leave.
Conlon directed a fine cast, with Désirée Ranactore managing the challenging music of the Nightingale skillfully enough to make understandable Good Hope’s obsession with her. Martin Gantner as Hoopoe and James Johnson as Loyal Friend sang their thinly characterized parts well, but the star of the men was last year’s Richard Tucker winner, tenor Brandon Johanovich. His is a big, masculine sound, with an easy top at this young stage of his career. The opera world will probably be looking to have him sing some of the bigger tenor assignments. He already has a Turiddu and Cavaradossi or two under his belt. Hopefully he won’t be tempted to even larger roles, as his talent, if carefully nourished, should produce a long and rewarding career.
Darko Tresnjak, of the San Diego Old Globe Theater, directed this silliness probably as well as just about anyone could. Scenery designer David P. Gordon’s set oddly combined palm trees and a series of six or seven luminous cloud shapes, set up in three rows. The transformation to the bird city probably would have made more sense if it had been more than some tiny Greek temples affixed to stilts. Linda Cho’s costumes designs also seemed to go for a sort of silky Ancient Greek tunic look, except for the fairly contemporary look of the humans. As not a lot of sense was being made on stage, nonsense designs couldn’t hurt.
Braunfels’s score certainly received all the attention and love from James Conlon any conductor could lavish upon it. Despite the fine singing and superior orchestral performance, this run of Die Vögel hasn’t revealed a lost masterpiece. The afternoon had some delights, however, so opera lovers a bit jaded with the usual repertory have to be thankful for the exposure to a work of such rarity. Next season, the Recovered Voices series continues with Franz Schreker’s Die Gezeichneten.