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As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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)