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Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
12 May 2009
Janáček: Jenůfa and Kátya Kabanová
Recorded four years apart, these two classic recordings of Leos Janáček's dramatic masterpieces now reappear in Decca's The Originals series, thankfully still with full librettos and excellent booklet essays.
Charles Mackerras continues to reign as the supreme conductor of Janáček’s music, and these sets provide further evidence of that, not least by filling up the second discs with other pieces. The Jenůfa set includes the final scene in the revised orchestration that introduced the opera to most of the world, before Mackerras led the return to Janáček’s original score, and the set concludes with an overture considered for the opera but never used. Janáček ‘s Concertino and Capriccio close the Kátya Kabanová set, both in witty performances conducted by David Atherton. The mood of those pieces is quite a bit different from that of the opera, it should be said.
Both sets feature informative essays by John Tyrrell, which give not only detailed background on Janáček’s compositions, including almost academic musical analysis, but also ample information on the original works behind the operas. In the Kabanová booklet Tyrrell’s essay is followed by a note from Mackerras, relating his first exposure to the composer who would become such a large part of his career.
The Kabanová set came in 1978, and its sound world is quite different from that of Jenůfa, composed many years before. The later work comes from the composer’s mature period, and it combines the exciting rhythms and naturalistic declamation found in the earlier work with a richer orchestral fabric, somewhat resembling the textures of his Taras Bulba. However, it seems to be the earlier opera that has established itself as the more performed of the two, undoubtedly due to the power of its story and characters. Both stories deal mainly in pain and distress, but Jenůfa ends with a gorgeous duet of redemptive love, whereas Kabanová’s heroine throws herself into a river, unable to find a way to live a new life or return to her old one. Nonetheless, as pure listening experience, your reviewer finds Kátya Kabanová a more entrancing score to listen to, with its greater variety of tone and mood. Jenůfa, on the other hand, works best on stage, where its characters come to full life, and can break the hearts of most any audience.
Elisabeth Soderstrom stars on both sets, her warm, womanly sound appropriate for both characters, and her command of the idiom as sound as her conductor’s. Peter Dvorsky gets to portray both the handsome but weak Steva of Jenůfa and the handsome but weak Boris in the Kabanová. He does so handsomely, with no weakness. Wieslaw Ochman earns his redemption as Laca with urgent, masculine passion. The Kostelnička, Eva Randova, has a full, secure voice, whereas on stage the role is often taken by a veteran singer whose voice may be worn but who can embody the character convincingly. The counterpart role in Kabanová, Kátya’s mother-in-law, is sung with fierce relish by Nadězda Kniplová.
For any opera lover who somehow never managed to acquire these sets in the long years when they were only available at full-price, now is the time to search them out and add them to your collection. Indispensable.