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Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
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.