12 May 2009
Kate Royal at Wigmore Hall
Soprano Kate Royal is reported to have said that singing at the Wigmore Hall is “like a religious experience”.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
Soprano Kate Royal is reported to have said that singing at the Wigmore Hall is “like a religious experience”.
The stimulating programme presented on 7 May, a sequence of 25 songs by Schumann and Brahms devised by the pianist, Graham Johnson, certainly established a cerebral, even ‘spiritual’ mood — ‘serious’ music-making indeed. Regrettably, in the event Johnson was indisposed but, while it took him a little time to become accustomed to the Wigmore Hall acoustic, Christopher Glynn was in no way a ‘second-best’ replacement. His innate empathy with this repertoire was immediately apparent, and his alert responsiveness to the nuances of the texts was sustained throughout the performance.
As the 2004 winner of both the Kathleen Ferrier and John Christie awards, photogenic and market-friendly, 30-year-old Royal has caught the discerning listening public’s ear and eye during the past five years, with acclaimed performances at Covent Garden, English National Opera and Glyndebourne. And yet, while the warm beauty of Royal’s tone and the serious, focused application of an impressive musical intellect were much in evidence during this recital, the end result, while technically skilful and at times emotionally touching, was rather ‘underwhelming’.
On this occasion Royal seemed to take a long time to get into her stride; perhaps this is new repertoire which she has not fully mastered emotionally or dramatically. The opening fours songs by Schumann, selected from his Op.107 set, certainly demonstrated the dark creaminess of the lower range of Royal’s voice, and on the whole the rendering was musically accurate (excepting some wobbles of intonation during dynamic crescendos or peaks); but Royal did not fully convey the full expressive range of the texts.
There is much turbulence in these songs of sadness and loss, which were composed in 1851 - a time when Schumann’s health was deteriorating as the pressures on the newly appointed municipal director of music in Düsseldorf accumulated. The composer’s own psychological instability and subsequent suicide are foreshadowed and embodied; in ‘Herzeleid’, downwards spiralling semiquavers evoke the insanity and death of Ophelia, while the unrequited passion and emotional distress of an unappreciated, overlooked servant girl is conveyed by the dark, descending bass line in ‘Die Fensterscheiber’. Unfortunately, at the start of the recital Royal was rather overpowered by the accompaniment; perhaps she was insufficiently warmed up, but she seemed to lack genuine engagement with these mini-dramas. Glynn tenderly conjured the escalating grief of ‘Die Spinnerin’ and the unsentimental loneliness of ‘Im Wald’, but it was not until ‘Abendlied’ — in which the poet, Kinkel, pleas from his prison cell for a cessation of human fear and misery - that Royal fully realised the despair and anguish in Schumann’s melodic and harmonic gestures. Here, the duo effectively controlled the structure of the song, creating momentum and continuity.
One weakness of the performance was Royal’s diction; consonants were shabbily neglected and there was no real evidence of insight into the texts despite the soprano’s obvious musical intelligence; at times the result was a limited emotional range and a detachment from the emotional core of these lieder. Neither character nor dramatic situation were convincingly conveyed in the Brahms lieder - ‘Liebestreu’, ‘Im der Fremde’, ‘Lied’ (Op.3 Nos.1,5 and 6), ‘Parole’, ‘Anklänge’ (Op.7 Nos.2 and 3) — which concluded the first half; indeed, despite the apparent ease with which Royal surmounted the technical obstacles, it was not until the final song before the interval, ‘Juchhe!’ [‘Hurrah’!] that she got into her stride and began to complement the joyful playfulness and exuberance of the piano’s energetic accompaniment.
Royal seemed more in tune with the emotional sentiments of Schumann’s ‘Gedichte der Königin Maria Stuart’ [‘Poems of Mary, Queen of Scots’ (Op.135)], with which she commenced the second half of this recital. The focused, warm tone of her lower register perfectly communicated the sincere outpourings of the condemned Queen. For this listener, the musical and dramatic peak was attained in ‘Abschied von der Weit’ [‘Farewell to the world’] and ‘Gebet’ [‘Prayer’], where Royal’s controlled lyricism, accompanied by a greater clarity of diction, captured both the sombreness and poignancy of the queen’s last moments. It was an original and striking programming choice to ‘interrupt’ this regal sequence with Brahms’ boisterous ‘Murrays Ermordung’ [Op.14 No.3, ‘The bonnie Earl o’Moray’], a setting of a folk poem in which a queen mourns her clandestine and illicit lover. Again, Royal’s technical assurance fully justified the juxtaposition, as the soprano proved herself able to convey heartfelt regret through a range of idioms.
In the concluding songs by Brahms, Royal finally discovered a dramatic energy and colour which until now had been lacking; ‘Nachtigallen schwingen’ [Op.6 No.6 ‘Nightingales flutter’], ‘Der Frühling’ [Op.6 No.2 ‘Spring’] and ‘Die Trauernde’ [Op.7 Np.5 ‘The sad maiden’] demonstrated that she can produce a myriad of colours to match and enhance the dramatic mood, the effortless melodic sweep and the sheer beauty of her timbre perfectly conveying the lyrical sensuality of these songs. For a singer accustomed to the operatic stage, however, Royal’s lack of physical movement — she scarcely moved her arms throughout these songs, preferring to place the expressive burden solely on the voice — was a little disconcerting. This rather short recital concluded with a single encore, the traditional song, ‘Early one morning’.
So, although there was much to admire, a convincing personal response was not always in evidence during this performance. Royal can without doubt pass the vocal trials but she is not always the mistress of the musico-dramatic challenges.