Recently in Reviews
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
18 Jun 2009
Aldeburgh Festival — New Buildings, New Birtwistle Operas
Sir Harrison Birtwistle’s early opera, Punch and Judy, premiered at Aldeburgh in 1968. Benjamin Britten reportedly walked out. Now Birtwistle is himself the pre-eminent British composer, whose work has long since become part of the Aldeburgh tradition. This year’s Festival opened with two Birtwistle premieres, The Corridor and Semper Dowland, simper dolens.
Like Britten himself, Birtwistle is fascinated by early English music. So his new music grows on ancient roots, much like the new buildings at Snape rising from the remains of granaries that occupied the site in Victorian times. The new Britten Studio is a minimalist structure, with open beams in the roof and rough hewn brick walls. Architecture as abstract art. It was a perfect setting for the austerity of Birtwistle’s two new works.
Semper Dowland, simper dolens takes its cue from John Dowland's Seven Teares figured in seven passionate Pavanes. To Birtwistle, the Dowland sequence is "unique in the history of music". The basic unit is a song Lacrimae, which is set in seven versions, with the same chord sequence, each only a slight variation on the former, so the whole flows endlessly like the tears in the text. "It's like making music into a three dimensional object", says Birtwistle, "like seeing something in different facets".
In a musical puzzle piece like this, simplicity is of the essence. Dowland played the lute and sang it himself to small audiences. Mark Padmore sings, accompanied by austere yet limpid harp, a lute writ large with deeper sonorities. At critical moments, low voiced murmurs from bass clarinet, viola and alto flute, then sudden lyrical flights on piccolo.
The Corridor is Birtwistle's latest exploration of the Orpheus myth. Again, it springs from a simple idea, a freeze frame focus on a single, fleeting moment in the saga, when Orpheus, leading Eurydice out of the Underworld, suddenly looks back. In an instant, he loses her and she's swept back into eternity. So Birtwistle makes the split second extend into a half hour meditation on past, present and future. He layers mood on mood, infinitely extending the moment, which once past cannot be retrieved. So don't expect a storyline or development. This is a different concept of time in music.
The text is by David Harsent, whose poetry is poignant because it's direct and seemingly simple. He wrote the libretto for Birtwistle's The Minotaur where the Minotaur's fierce exterior hides his innocent, childlike soul. An even better comparison with The Corridor is The Woman and the Hare, a 15 minute jewel Harsent and Birtwistle wrote some several years ago. Birtwistle has come a long way from Punch and Judy. His more introspective work is delicate and intricately constructed - like his fascination with clockwork and mazes.
Indeed, Harsent's text in The Corridor is particularly elegaic and beautiful, Birtwistle hardly has to "set" it as such, for the phrases and words flow melodically. Elizabeth Atherton's was nicely warm blooded and lusty, making her fate all the more distressing. You could "hear" the vibrant young woman who dies on her wedding day. I wasn't so sure about the film projections and dancing, though I can see why the spartan staging might need elaboration to keep an audience happy. London audiences will get a chance to see a concert performance at the Queen Elizabeth Hall on 6th and 7th July.
But again, the best writing is for the male voice. As the poem goes:
"...there's only one word dark enough, one word as bleak, as cruel....to tear the heart, a word to blacken rain....to bring to ruin all joy or gift or courage...."
Orpheus cannot bring himself to say the word. Padmore sings the name instead, Eurydice, over and over, each time differently, as if reluctant to lose hold of the moment.