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Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
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.