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On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
21 May 2009
Wolfgang Amadeus Mozart Lieder, Salzburg 1958-1984.
In its recent collection Mozart Lieder, Salzburg 1958-1984 in its series entitled “Festspiel Dokumente,” Orfeo pays homage to the tradition of Liederabend at the Salzburg Festival with selections from a quarter century of performances.
In a two-CD set, it is possible to gain a perspective on these periodic recitals. Starting with the 1958 Festspiel, the recording captures Irmgard Seefried accompanied by Erik Werba, with some of the composer’s representative Lieder. This follows with music from a decade later in 1968 with Ingeborg Hallstein, again with Werba. The other performances follow in quicker succession: 1975’s Liederabend with Peter Schreier accompanied by Jörg Demus and Helen Donath with her pianist husband Klaus; in 1983, Edith Mathis with Heinz Medjimorec, piano; 1984, Edita Gruberova, soprano, and Irwin Gage piano; and in addition, Walter Berry sang Mozart’s Kleine deutsche Kantate, KV 619, with Werba accompanying him. (Gruberova also performed this work in her 1984 Liederabend.) All in all, this set of documents some of the finest exponents of Lieder of the time in performances, as underscored by the rubric on the discs, “Grosse Mozartsänger” (“Great Mozart singers”).
Some of the music is familiar, as with “Das Veilchen,” KV 476, which was part of several recitals, and it is possible to compare the performances by sopranos Hallstein and Gruberova, and enjoy the piece from the tenor Schreier. All three singers offer fine readings of this piece, and it is fortunate to have both in a retrospective collection like this one. Other pieces are not as widely known, as with “Der Zauberer,” KV 472, which Donath and Mathis included in their recitals, or “An Chloe,” KV 524, as performed by Seefried and, later, by Schreier. While most of the songs are indeed Lieder, Schreier, Mathis and Gruberova include several of Mozart’s chansons, such as the Ariette KV 308 “Dans un bois solitaire” (which Schreier renders in German translation and Mathis sings in French) or the Italian canzone “Un moto di gioia,” KV 579, which was part of Seefried’s and Gruberova’s programs. All in all, the collection not only preserves the works of these fine singers, but also offers a fine introduction to the solo vocal music of Mozart.
The performances are generally fine, and it is useful to hear multiple performances of the same pieces to gain a sense of the range of interpretation possible within this part of Mozart’s repertoire. The vibrant approach of Peter Schreier conveys a wonderful engagement with the music as found in the nuances of dynamic within the phrases, as the tenor uses in his performance of “An Chloe.” His effortless approach to higher range matches the control apparent in Schreier’s lower pitches. When compared to other singers singing this literature, Matthis seems more passionate in her interpretations, which are solid and convincing. The performances by Gruberova also merit attention, and her interaction with Irwin Gage demonstrates the way in which these pieces demand the attention such a pianist brings to their execution.
The sound of some examples, as with those of Irmgard Seefried, resembles studio recordings, while others, like those of Ingeborg Hallstein include some audience sounds including, at times, applause. Throughout these recordings, the balance between voice and accompaniment is generally good, with some recitals betraying a more aggressive accompanist, others with the singers placed closer to the microphone, as with Schreier. While some details may be easier to hear in the later recordings, like those of Gruberova from 1984, the quality is uniformly high.
In terms of the set itself, it is useful to have the full text and translations keyed to the tracks. In fact, Orfeo was good to use a single text when pieces are repeated and to include the listing of the tracks in which they also occur. At times the German is rendered differently than found in the music or, in some cases, sung, and those seeking English translations of the song texts will not find them in this rather slim booklet. Nevertheless, the concept behind the recording and, more importantly, the legacy it represents, is honored well in the selection of the pieces by some of the finest exponents of Lieder from the latter part of the twentieth century.
James L. Zychowicz