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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.
21 May 2009
Lieder and Opera meet in Hugo Wolf
Lieder and opera are different worlds. But understanding the differences helps us appreciate what makes each form distinct. Hugo Wolf’s songs come close to bridging the genres. They’ve been described as “miniature operas” where dramas are distilled into compact form.
The Wigmore Hall is hallowed ground for Lieder. Built in 1901 for Bechstein,
it is one of the world’s great recital halls, where many great singers
have appeared, even though it seats only 450. It’s the ambience that
draws them. They’d make more money in a big arena, but the Wigmore Hall
is a special experience. It’s small enough that interaction between
performers and audience is direct and intimate. This is the ethos that makes
Lieder so special. It’s intensely personal and nuanced : song through a
microscope to speak, but imbued with warmth and feeling.
Christian Gerhaher is a favourite with the Wigmore Hall audience. On this
evening Anna Netrebko and Dimitri Hvorotovsky were scheduled to sing elsewhere
in town, impacting on sales, so the Wigmore Hall wasn’t sold out as
usual. Gerhaher was singing Hugo Wolf’s Italienisches
Liederbuch, with his regular pianist, Gerold Huber and a young soprano,
The 46 songs in the collection form a narrative, or even a cycle. Together,
they form a kaleidoscope of “Italian” life, romanticized through
Austro-German ears.. Hugo Wolf never fulfilled his dream of going to Italy, but
each song is full of vividly imagined incident. Dissolute monks seduce girls
whose mothers trust men in robes, a girl longs for “older men”
– aged 14!. Each song is like a moment in a larger story. Der schöne
Toni’s eating himself to death because Tonina has dumped him, and a
man’s heart jumps clean out of his chest, running off to see his
Plenty of drama, then, in these songs, which Wolf plays up exuberantly with
witty piano commentary. They lend themselves to more dramatic treatment than do
more introspective Lieder. Indeed, much of the impact would be lost if they
were performed without a lively sense of fun.
Gerhaher was in good form. His voice is richly resonant, yet flexible enough
that he takes Wolf’s tricky rhythms with ease. Yet these songs are still
fundamentally, Lieder, where the action is inward. Gerhaher was most impressive
in songs where the singer has to hint at deeper mysteries. For example, Schon
streck’t ich aus im Bett, where the lover jumps out of bed to play his
lute. Wolf sets the last stanzas with a strange, meandering lilt which evokes
the strumming of the lute but also the text which pointedly mentions that the
singers has walked away from many girls, his music “wafted away in the
wind”. It’s no serenade.
Lieder is private, almost silent expression. There’s no orchestra, set
or plot to compete with, so the dynamics are different. Mojca Erdmann is young,
who’s still having to prove herself with her voice, so naturally
she’s more inclined to a declamatory approach that highlights the
technical side of her singing. Her flourishes in ‘Ich hab’ in
Penna’ would sound impressive in the theatre, but overwhelm the balance
in the song. True, the song’s about a girl bragging about her many
admirers, but it’s more effective with a touch of subtlety.
As the first song in the set goes, ‘Auch kleine Dinge’,
“even small things can delight”. “Think only of the
rose”, it continues in delicate tones, “it’s small but smells