25 Jun 2009
SCHUBERT: Alfonso und Estrella
What is the worst opera with the best music?
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
What is the worst opera with the best music?
Some might vote for Bizet’s Les Pecheurs de Perles, which has tunes so magnificent that they help to mitigate against a hopeless libretto, enticing companies to stage the opera from time to time. A somewhat more obscure candidate could be Howard Hanson’s Merry Mount - the suite from which sweetens the playlist of many a classical radio station. Naxos has released both the original Metropolitan Opera broadcast from the 1930s, in very poor sound, and a more recent concert recording, with Gerald Schwartz conducting. In both, the music engages while the drama distracts.
Now Naxos’s series of operas on DVD presents another possibility for that lamentable title: Franz Schubert’s Alfonso und Estrella, composed to a libretto by Franz von Schober. The score can’t be said to boast any of Schubert’s immortal melodies, but it has some fine ones nonetheless. Arias, duets, trios, ensembles - the score may be a crazy quilt of “pieces,” but each in itself is tuneful and evocative. Nikolaus Harnoncourt is not always the most stylish of conductors, but he has a flair for Schubert, especially the dramatic minor-key passages, as well as the more rhythmically exciting passages. He leads the Chamber Orchestra of Europe in an excellent performance.
The singers get caught in the middle, with such fine music to sing and such dopey drama to enact. Director Jürgen Flimm gives the drama every opportunity to succeed. On Erich Wonder’s dark, atmospheric set, the singers move about as if actually motivated by recognizable human emotions. But the story is simply too thin and predictable. An exiled king worries over his noble son, who is in love with a woman who just happens to be the daughter of the man that deposed her lover’s father. It all ends in a sanctimonious bout of forgiveness and redemption, vaguely recalling Beethoven’s Fidelio. A clumsy translation doesn’t help matters for the non-German speaker. One example will serve: “Monster! Ha, avaunt!” Avaunt to be alone.
Recorded in 1997 at the Vienna Festival, the singers are all in fine, fresh voice. Made up as an old man, Thomas Hampson lays on the “feebleness” a bit much, but his voice is strong. Olaf Bär sings the “bad” king without letting his nefariousness mar the musical line. As the young lovers, Luba Orgonasova and Endrik Wottrich are attractive both vocally and personally.
Once seen, viewers may not be interested in returning to Alfonso und Estrella as a music drama. However, such are the pleasures of its score that this DVD is well worth considering, if no other opportunity can be found for enjoying its music.