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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.
17 Jun 2009
Ian Bostridge at the Chicago Symphony Orchestra
In a recent Chicago Symphony Orchestra concert featuring twentieth-century
instrumental and vocal compositions Ian Bostridge sang Benjamin Britten’s
Les Illuminations under the direction of principal conductor Bernard
The concert opened with a contemporary arrangement of early music,
Steven Stucky’s transcription of Henry Purcell’s Funeral Music
for Queen Mary, this version receiving its first performances by the
Chicago Symphony Orchestra. The second half of the program offered a masterful
account of Dimitri Shostakovich’s Symphony No. 15, the performance here
yielding considerable opportunity for both soloists and orchestral ensemble.
The brief transcription of Funeral Music in four parts,
beginning and ending with a march, honors the musical spirit of Purcell while
offering a modern interpretation of the same. After an introduction emphasizing
low notes for the flute, a steady piano accompaniment gives way to the drums
signaling a dignified realization of death. Following this opening, the CSO
brass played an appropriately somber dirge, indeed one associated with the
elevated stance of passing royalty. An oboe solo, performed here with great
effect by Eugene Izotov, was echoed by the brass, such types of musical
dialogue informing much of the remainder of Stucky’s transcription of
Purcell. Sustained notes held by the use of the vibraphone introduced a
continuity leading to a final stately reprise, with the repetition of drums
calling the funereal tone into an ultimate focus.
The significance of Purcell’s music for Benjamin Britten is certainly
recognized from the latter’s instrumental compositions, and the pairing
in this concert with Les Illuminations functioned as yet further
homage to the earlier composer. Britten was first inspired by the poetry of
Arthur Rimbaud in the late 1930s and finished in 1940 his cycle of songs,
Les Illuminations for high voice and strings, based on
Rimbaud’s texts of the same name. The singer’s approach to the
poetic texts by Rimbaud and interaction with the string orchestra is key to a
unified approach in a performance of this cycle. Bostridge has given ample
consideration to a multi-faceted approach evident in this program. He injects a
sense of drama without appearing overwrought in tone while, at the same time,
maintaining sufficient ironic distance so that his performance serves as both
song and commentary on the text and music being performed. In the introductory
lines of “Fanfare” Bostridge declares with proud conviction
“J’ai seul la clef de cette parade” [“I alone have the
keys to this parade”]. When these words are repeated and varied ending
piano on the phrase “cette parade sauvage” [“this savage
parade”], the singer becomes a keeper of secrets, one who bears the mask
of an omniscient observer. With this alternating perspective Bostridge guided
the listeners through the following series of poems chosen and set by Britten.
“Villes” [“Cities”] details the varied and stirring
activity of the modern city, filled with moving individuals and their means of
transportation. To illustrate the mix of ancient and modern — the seeming
paradox of nature, myth, and metropolis — Bostridge intoned, in effective
succession, a rising followed by a descending scale on the verbal forms in the
phrase “la lune brûle et hurle.”[“the moon burns and
howls”]. At the close of this song the paradox of frenetic movement and
ancient model was capped softly by Bostridge as he asked “d’ou
viennent mes sommeils…?” [“from where does my sleep come
…?”] with tender inquisitiveness. In the following text of
“Phrase” the lyrical I speaks, almost as one of the fates,
stretching cords from one pinnacle or window to another. While describing
movement here with the statement, “et je danse” [“and I
dance”], the tenor emphasized the physical verb starting on a crystalline
high note that progressed, glissando and gracefully all-encompassing, to a
concluding low. In the following three pieces, before an orchestral interlude,
the tone sways between the private and the open spheres. “Antique”
is a direct address to the son of Pan, both description and attempt to
communicate, during which Bostridge used his voice to suggest the musical
instrument associated with the deity. The range of notes struck so effectively
by the singer in the conclusion to this song evoked the female and male aspects
of the “double sexe” as cited. In “Royauté” an
unidentified couple indeed play at the roles of royalty for an extended day,
their self-absorption brought out especially in the ironic detachment of this
performance. The movements of the ocean and foam slapping against a boat in
“Marine” were convincingly imitated by melismatic effects on
“l’écume” [“foam”] and the final emphasis of
“tourbillons de lumière” [“whirlpools of light”].
As the first in the second group of texts following the orchestral
interlude, “Being Beauteous,” as titled by Rimbaud, is replete with
contrasting images that call into question the concepts of actual and idealized
appearance. Through notable shifts in tempo Bostridge underlined these
contrasts while allowing the text to maintain its own organic flow. The tone of
the song was aptly concluded with a low, almost heavy vocal projection on the
words “de l’air leger” [“of the soft air”],
suggesting by the performer antithesis in one’s perceptions of beauty. In
the final two songs, “Parade” and “Départ,” the soloist
released a crescendo of varied emotions as he observed and commented on the
parade of humanity, a further and elongated assurance here given that the key
to the parade rested with the perception of this voice. In “Départ”
Bostridge looked truly weary as he sang “Assez vu” [“Enough
seen”], the slow and quiet intonations now concluding a cycle of
contradictions, as the final phrase, “l’affection et le bruit
neufs” [“the new affection and noise”] trailed softly into
In the Symphony No. 15 by Shostakovich, performed after the intermission,
Haitink gave cohesive direction to a sprawling work that blends original motifs
with ample quotation. In the first movement, marked Allegretto, an initial
motif was introduced by the solo flute, played poignantly by Mathieu Dufour and
leading into a series of other solo parts in succession. After the bassoon,
oboe, and trombone contributed their parts, combinations of instruments — e.g.
flute and brass, piccolo and strings — were punctuated by intermittent
references to the William Tell overture by Rossini. In the second, Adagio
movement a solo for cello was played exquisitely by John Sharp, who was
subsequently joined by Dufour in a duet followed by the full complement of
strings. The concluding movements of the Symphony, with various tempo markings
including — again — Allegretto, contain yet further quotations from the
composer’s own works as well. The integration of the past and
transformation into a new composition remained the guiding force behind
Haitink’s memorable interpretation.