Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Rosemary Joshua [Photo by Ruth Crafer]
19 Jul 2009

Prom 2 — Haydn: The Creation

‘I never left a theatre more contented, and all night I dreamed of The Creation of the world.’ — the view of one of those at the first performance of The Creation in 1799.

Prom 2 — Haydn: The Creation

Rosemary Joshua (Gabriel), Mark Padmore (Uriel), Neal Davies (Raphael), Pater Harvey (Adam), Sophie Bevan (Eve), Chetham's Chamber Choir, Members of Wrocław Philharmonic Choir, Gabrieli Consort & Players. Paul McCreesh (cond.). Concert performance, Royal Albert Hall, London, 18 July 2009.

Above: Rosemary Joshua [Photo by Ruth Crafer]

 

Evidently one shared by the Proms audience last night, although if we dream of the creation of the world it’s probably more likely to be in the more usually heard German edition — given Paul McCreesh’s advocacy of his own revised version it seems churlish to voice this, but there’s something about, say, ‘Mit Würd und Hoheit angetan’ which ‘In native worth and honour clad’ just doesn’t have.

What this performance did have, was stirring singing from the massed forces of Chetham’s Chamber Choir, members of the Wroclaw Philharmonic Choir, and the Gabrieli Consort, and mostly stellar playing from the Gabrieli Players, with especially strong contributions from Katy Bircher’s flute and the Fortepiano of Benjamin Bayl. McCreesh has a dynamic view of the piece: it’s all dappled shade followed by blazing light, with tremendous climaxes at the exalted, Handelian closing choruses, ‘Achieved is the glorious work’ being especially powerful. He handles the intimacy of the solo parts well too, giving space to shape the phrases and savour the language.

If I have doubts about this evening, they lie with the singers: far be it from me to argue with how solo passages are managed, but it did seem odd to me that poor old Adam and Eve had to sit there for two thirds of the time before they were created — aren’t those parts usually sung by the Gabriel and Raphael? As for their singing, of course it is always lovely to hear Peter Harvey’s refined bass, and Sophie Bevan has been delighting me for years ever since I heard her RCM debut: their duet ‘With thee is every joy enhanced’ was very engaging.

Rosemary Joshua was the vocal star of course, her genuine Handelian soprano making light work of the onomatopoeic trills of ‘On mighty pens uplifted soars’ and providing exactly the right sense of sparkling lightness at ‘The glorious heav’nly hierarchy.’ Beside her, Neal Davies’ workmanlike Raphael and Mark Padmore’s worthy Uriel tended to seem rather pedestrian, although Padmore as always did his best to sound suitably heroic at ‘In native worth and honour clad.’

The Creation has always seemed to be the poor relation to Handel’s oratorios, but a performance such as this one makes not only a powerful case for its greatness, but shows how accurate Hugo Wolf was when he described Haydn’s music as ‘Sheer nature, artlessness, perception and sensitivity!’

Melanie Eskenazi

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):