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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
29 Jul 2009
Schubert bounces along at Wigmore Hall
The performance of lieder is a partnership between singer and pianist. In May I heard Julius Drake redeem an indifferent recital by the sheer beauty of his playing. I’ve been listening to him for more than 15 years. He’s a favorite. So I was completely taken by surprise by this recital
The program was promising, an intelligent mix of much-loved Schubert staples with relative rarities which the Wigmore Hall’s specialist audience eagerly anticipated. By its very nature Lieder is more extreme than ordinary song. Good Lieder recitals shouldn’t be tame. But the reckless pace at which Drake was playing seemed to stem from something quite outside the music. His “tempi” were so fast that all sense of phrasing was lost. Drake has the technical facility to play at breakneck speeds without losing notes, but this relentless pressure distorted line and meaning. And Lieder without meaning aren’t Lieder.
Since each song is individual, its character needs to be respected. Drake lurched from one song to the next without a break, sometimes almost before the resonant echoes of the last had faded. Switching from the contemplative “Freiwilliges Versinken” (D 700), with its images of a pale moon and resignation, to the stormy “Der zürnenden Diana” (D 707b) might in some circumstances be dramatic, but when every song and every traverse is treated the same hurried way, the songs tumble into a jumble.
The audience was disregarded, too. Pauses between songs allow listeners to reflect on what they’ve heard, for Lieder is about making listeners think. Now there wasn’t even time to turn a page, or to cough to break tension. Only after the performance ended, did Drake take an extended break, claiming he couldn’t find the score for the encore, laughing as if it were a joke. Since the encore was “Die Forellen” (D 550), and everyone knew there’d be an encore, this seemed contrived.
When Drake wasn’t aiming for an Olympic speed record, his touch was heavy and dominant. “An mein Klavier” (D 342) refers to a fortepiano. The melody lilts, for it’s a “sanftes Klavier”. This clavier, instead, gave extra force to the term “Hammer”-klavier.
To Ian Bostridge’s credit, he managed to match Drake’s pace for the most part. In the last few years, he’s developed much greater control and depth. Indeed, a friend of mine heard this concert a few weeks ago at Schwarzenberg and said that, if anything Bostridge’s voice was in even better form this evening. My friend, who hears 50 or more Lieder recitals a year, hasn’t in the past been a big Bostridge fan, but has become convinced by the singer’s increasing poise and confidence,. Now that’s tinged with respect for the way Bostridge handled the wayward dynamics.
“Der Wanderer” (D 489, von Lübeck) showed how Bostridge can float legato with the fluidity of a clarinet, yet imbue words with great meaning. Lieder aren’t a medium for bland purity: a singer has to care about the words. This is one of Bostridge’s great strengths. He’s clearly thought through less well known songs like “Die Perle” (D 466, Jacobi) where the poet knows he’ll never find the pearl he’s searching for. A pity that the marking “schrietend “(at a walking pace) was so rushed that it pushed the poet to his death before giving him a chance to savor his predicament with true Romantic pathos.
Ballads like “Lied des Gefangenen Jägers” (D 843) and “Normans Gesang,” (D 846) both to texts by Sir Walter Scott, need vivid expression to create interest, which Bostridge’s emphasis on meaning provided. Then, in a burst of impassioned energy, he threw himself into the Mayrhofer song “An die Freude” (D 654), giving it greater portent than I’ve ever heard before. Mayrhofer, a neurotic with whom Schubert later fell out, contemplates death, when friends will bring flowers to his grave. “Rejoice,” sings the poet, “Dies alles ist dem Toten gliech” (“all this means nothing to me now”). Despite the turbulent piano, Bostridge had perspective, and sang with grace.
Wonderful program notes by Richard Stokes. Most program notes are ephemera, geared to the most basic readership. Stokes’s notes combine insight into the music and poems with knowledge of wider cultural background. He gives details even the astute Wigmore Hall audience might miss. For example, “Das Zügenglöcklein” (D 871) isn’t just any bell but one traditionally rung in Austrian villagers when parishioners lay dying, to prepare them for the next world. In our frantic modern times, we don’t reflect on simple, quiet things like that. Stokes makes us realize just how relevant Schubert is to us today.