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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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