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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
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.
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.