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In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
15 Jun 2009
Haydn’s Bicentenary : 20 Capitals Salute “The Creation” With Standing Ovations
The Austrian Ministry of Culture and the Committee for the Celebrations of
Haydn’s Bicentenary had a brilliant idea: on May 31st , the day of the
composer’s death, 20 symphony orchestras and/or opera houses performed
one of his greatest and best known oratorios Die Schöpfung (The
Because of different time-zones, Die Schöpfung day started
in New Zealand and ended in Honolulu. An earnest radio listener could enjoy the
different performances over 24 hours and appreciate the difference in
conducting as well as in singing. Opera houses were included because in certain
countries (e.g. Germany) Die Schöpfung is also staged as a music
drama: computer technology and animation are a superb support to show the
initial chaos , the creation of the animals, of the flowers, of the lakes, of
the rivers and of the mountain as well as the Eden garden with the passionate
Adam and Eve duet.
In Rome, the Orchestra Sinfonica - Fondazione Roma (OsFr) was selected for
the task. The OsFr is a peculiarity in the Italian musical landscape: it is the
only fully private symphony orchestra. It does not receive any State,
Regional., Provincial or Municipal support but it is financed by the Fondazione
Roma ( a nonprofit foundation) and by a few companies. It has 90 permanent
elements (average age: 30), a budget which is less than one-fifth of that of
the main symphony orchestra in the Italian capital (l’Accademia Nazionale
di Santa Cecilia) and a low- priced ticket policy to attract young and old
people with modest income (season tickets for 30 concerts vary from € 260
to € 90 according to the category). Its music director and permanent
conductor is Maestro Francesco La Vecchia, who is also principal guest
conductor of the Berliner Symphoniker. La Vecchia has been music director of
Opera Houses and symphony orchestras in Central Europe (Budapest), Latin
America (Rio de Janeiro) and Portugal (Lisbon). The OsFr started some eight
years ago after a EU-supported training program for young graduates from
European conservatories. It has gained an important place in the international
music scenes also due to its tournée in Germany, Poland and China.
In January, the Accademia di Santa Cecilia had offered a different version
of Die Schöpfung — performed by Frieburger Barochester conducted
by René Jacobs and with Julia Kleiter, Donat Havar and Johanner Weisser as
soloists. The difference, of course, is not in the score (both Jacobs and La
Vecchia conducted the full score without cuts or intermission) but in the
style: dry, albeit almost religious, Jacobs’; passionate (even in the
approach to religion) La Vecchia’s .
Die Schöpfung is well known. Thus, there is no need to provide
Opera Today readers with background on its composition, on its Austrian and
London premières and on its contents. Its three parts are operatic acts. In the
first and in the second, the three archangels Gabriel, Uriel and Raphael
observe the Creation by following very closely the biblical text. In the third
act, we are no longer witnessing from a distance the works of the Creator. The
scene is the Eden Garden. After an introduction of Uriel, the act is long love
scene of Adam and Eve that includes a duet supported by a choral background. As
Haydn planned, there are five characters but three singers: the bass and the
soprano are Raphael and Gabriel in the first and second act but become Adam and
Eve in the third act. The roles are taxing both for the duration (nearly two
hours of music ) and for the “virtuoso” singing — they imply
“coloratura”, “agility”, quite a few high Cs and many
Maestro La Vecchia recalls that in 1992 he had conducted Die
Schöpfung in the Amazonian Forest, at the vey confluence of the Rio Branco
with the Rio Petro. Over 10,000 Indios attended the performance thrilled by the
Haydn’s score. Most likely, the memory of that performance influenced
conducting on May 31st. In the first part, it is noteworthy how conductor,
orchestra and singers amplified the transition from the chaos (C minor) to the
newly lit world (A major) . In the second act, the emphasis is on the
descriptive imagery as in the portrayal of the animals: the cheerful, but rude,
trombone blast of the lion, the pouncing tiger, the placing grazing of cattle,
the sinuous music for the worm. The third act is less contemplative than
normally performed: the love between Adam and Eve is powerful, not merely
platonic; their duet is rapturous and timeless, an essential transition to the
glorious final chorus.
La Vecchia and the symphony orchestra had three excellent singers to work
with. Anita Selvaggio is a “soprano assoluto” better known outside
Italy than in her own country. Both as an archangel and as Eve she displayed a a remarkable flexibility in the upper extension and an extraordinary use of
messa di voce (a quality that many sopranos seem neither to care for
nor to practice enough). Michael Smallwood is an up-and-coming Australian tenor
with a delicate sensuous “legato”. David Wilson Johson is the best
known of the three soloists. He once again confirmed his talent and
Giuseppe Pennisi (Based On May 31st Rome Symphony Orchestra Performance)