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On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
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.
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