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Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
24 Jun 2009
MAHLER: Symphony no. 8
The Gala release of Mahler’s Eighth Symphony from Hamburg performances on 29 and 30 November 1954 serves to document further the composer’s presence in the concerto hall prior to the well-known Mahler-renewal in 1960.
While Mahler’s music is heard with increasing regularly in the latter part of the twentieth century, his works were not completely ignored after World War II. Yet recordings of his symphonies were rare, especially when it comes to something as demanding as the Eighth. The Hamburg performance on this recent Gala CD dates from that time, which is just after Leopold Stokowski recorded the Eighth in 1950. Led by the composer-theorist Winfried Zillig (1905-63), this performance is a fine effort, which stands well when compared to other recordings of the time. The soloists are suited to the task and include a young Herman Prey and youthful Franz Crass; the choruses worked well together in a nicely blended sound. And if there is a weakness it is in the orchestral sound, which falls short at times. The first section of the Eighth, “Veni Creator Spiritus,” is nicely paced and the modest tempos allow for a sense of clarity to emerge. Yet those familiar with the score will find some awkward transitions and, unfortunately, a disappointing ending to the movement. The abrupt cutoff does not fit the style, sounding more tacked on than conclusive.
The second part, the setting of the conclusion of the second part of Goethe’s Faust is similar in concept. The opening section seems louder and more direct than indicated in the score, with the chorus of anchorites more prominent than later conductors might allow. Some of the other passages are well sung, but on the whole, the performance seems to be an accumulation of sections. Yet among those sections, the solo of the Pater Ecstaticus “Ewiger Wonnebrand” receives a notable and impassioned reading by Prey. Elsewhere, the tempos sometimes drag, with some uncharacteristic results in the section “Ich spur’ soeben,” a point where the solo tenor interacts with the chorus. A similar situation occurs later in the passage “Bei der Liebe,” in which the tempos flag at the expense of building toward the concluding section. It is unfortunate, though, that the final section of the second part occurs on the second disc and does not continue from the music which precedes it. While other conductors might shape the phrases differently, the Zillig does bring the performance to a satisfying conclusion. In some places the instrumentalists seem a bit taxed, but the solo voices and, especially, the chorus sustain the intensity implicit in the score.
In addition to the Eighth Symphony, this recording includes a performance on 19 August 1951 by the baritone Dietrich Fischer-Dieskau of Mahler’s cycle Lieder eines fahrenden Gesellen with the Vienna Philharmonic led by Wilhelm Furtwängler at the Salzburg Festival. This recording shows Fischer-Dieskau to fine effect with music he return to at various times in his lengthy career. Here, the involvement of Furtwängler is also of interest in a vivid recording of this familiar work. Also included is a slightly later performance by Fischer-Dieskau of Mahler’s Kindertotenlieder with the NDR-Sinfonieorchester conducted by Hans Schmidt-Isserstedt on 6 June 1955. The two-disc set also includes Hugo Wolf’s Gesänge des Harfners sung by Herman Prey and also accompanied y the NDR-Sinfonieorchester led by Schmidt-Issersted from 13 September 1955. A bonus is the inclusion of Hans Werner Henze’s Fünf Neapolitanische Lieder from 19 September 1956 (again with the NDR-Sinfonieorchester and conducted by Schmidt-Isserstedt).
As important as the Mahler recordings are to document the composer’s reception at a time when his music needed champions to bring it to performance, they also represent the work of two major German singers, Prey and Fischer-Dieskau, who would become some of the most important voices of their generation in the decades that followed. At the same time, the efforts of the Schoenberg student Winfried Zillig are preserved in this rare recording of the Eighth. At a time when Mahler’s works were rarely heard, it is reassuring to know of the efforts to perform one of the composer’s more demanding scores.
James L. Zychowicz