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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
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Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
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On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
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Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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