21 Jun 2009
Claudio Abbado Introduces the Complete Pergolesi
Very little is known about Giovanni Battista Draghi (or Drago, according to certain sources), known as Pergolesi.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
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Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
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The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
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A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
Very little is known about Giovanni Battista Draghi (or Drago, according to certain sources), known as Pergolesi.
He was born in Jesi — also the birthplace of Gaspare Spontini — on January 4th 1710 to a poor family (and most likely affected by many hereditary diseases). At a young age he left the small and pleasant little town on the Marche hills near the Adriatic Coast to move to Naples. There he studied at the San Pietro in Majella Conservatory. Upon graduation, he found employment as a musician and composer with a family, the Maddaloni, closely linked to the Austrians and thus not on good terms with the new powers-to-be in Naples (the Spaniards). He died young , at the age of 26, in a Monastery near Pozzuoli, in the suburbs of Naples. In his short life, he composed several opera serias, Church music and intermezzos. He was, it seems, well-known and appreciated in Naples and Rome (where the Maddaloni family went to find shelter when the Spanish Bourbons took over the Government in the Southern State).
He became internationally known several years after his premature death when his intermezzo La Serva Padrona, generally credited as the first opera buffa, precipitated a major artistic controversy (la Guerre des Bouffons) in France as well as elsewhere in Europe in the decades immediately preceding the Revolution. The first performance of La Serva Padrona in Naples in 1733 passed unnoticed; it was performed as a intermeszzo among the three acts of the opera seria Il Prigionier Superbo. La Serva Padrona was produced in Graz in 1739 by an Italian touring company without much notice. Its big splash was in Paris in 1752. Then, it provoked such a tumult of enthusiasm that it can be said to have caused a revolution in French opera; it played to almost full houses for nearly three years. At that time, French opera dominated and domineered European stage. The plot of La Serva Padrona is simple and satiric. Most of the dialogue is written the rapid recitative secco , unknown elsewhere in Europe except for Naples. The real charm of the short two parts intermezzo resides in the set numbers arias and duets where comedy and pathos intermingle. It was a real shock in Paris where the baroque opera was at its sunset and the tragédie lyrique was losing his hold. La Serva Padrona became an opportunity to inveigh against tradition and to promote the new culture of free expression of feelings- in short, to bring enlightenment to the opera stage and to the opera houses. The philosopher Jacques Rousseau became the leader of the movement; he himself composed an opera buffa in the new style, Le Diven du Village.
A scene from La Serva Padrona
Internationally, Pergolesi is mostly known for La Serva Padrona and two of his sacred pieces, Salve Regina and Stabat Mater, but he was a prolific composer in his brief life; at least six operas, mostly opera serias, are attributed to him. For the 300th anniversary of his birth, the Jesi-based Pergolesi Foundation has the ambitious program to stage all of them; the six operas will be staged in Pozzuoli, where, as already mentioned, the composer died.
It is fair to say that only two of the six operas would be new productions. In the last few years, the Foundation has already staged four of them in programs co-produced with the Festival of Radio France in Montpellier and with the Baroque Festival of Beaune as well as with the theaters of Modena, Piacenza, Ravenna, Reggio Emilia and Treviso. The full schedule is available at www.fondazionepergolesispontini.com and summarized at the end of this article.
A scene from L’Olimpiade
A jump start to the festival was, on June 5th, a concert of the Mozart Orchestra with Claudio Abbado conducting a fine group of soloists and the Swiss Radio Chorus. The concert was performed in the lovely Pergolesi Theatre in Jesi, with live and free maxi-screen video on the main square of the town. Only the initial number of the concert came from an opera, the aria Manca la guida al piè from the Neapolitan music drama Li Prodigi della Divina Grazia nella Conversione e Morte di San Guglielmo, a dramatic play Pergolesi composed when he was 21. The play has never been staged in modern time; it is programmed for December 2010 as a part of the performances of Pergolesi’s complete oeuvre. The rest of the concert was devoted to Church music with the Missa in F major taking up the entire second part. Abbado conducted with sublime elegance. All the soloists were of high standard, especially the alto Sara Mingardo. The audience was enthusiastic.
Our readers are most likely more interested in the operatic full immersion in Jesi and Pozzuoli than in a review of concert. I have seen in Jesi all the four productions that will be revived as a part of 2010 program. All of them are of high quality and show a Pergolesi very different than the composer generally known to international audience - mostly through La Serva Padrona, Salve Regina and Stabat Mater. I would recommend especially two of the four operas: La Salustia and L’Olimpiade. The former is one of the early opera seria by Pergolesi: it is passionate, nearly lascivious (also due to the staging by Jean-Paul Scarpitta), and thus very modern as compared to the standard and style of the time. The latter uses the Metastasio libretto previously set to music by Vivaldi, Galuppi and others, but it is unusually powerful in capturing friendship and competition among two young men; the staging of Italo Nunziata is a dramatic masterpiece.
The Opera performances in Jesi:
Il Prigionier Superbo- 11-12 September 2009 La Serva Padrona - 11- 12 September 2009 Il Flaminio - 4-6 June 2010 Adriano in Siria - 10’-12 June 2010 Livetta and Tracollo - 10-12 June 2010 La Fenice sul Rogo - 13 June 2010 Lo Frate ‘Nnamoratu 3-5 September 2010 L’Olimpiade - 10-12 Sempter 2010 Li Prodigi de la Divina Grazia 11September 2010 Il Prigionier Superbo 19-21 November 2010 La Serva Padrona 19-21 September 2010 La Salustia 10- 12 December 2010
Dates of the Opera Performance in Pozzuoli 4-13 September 2010