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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.
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.
07 Aug 2009
Discovering Masterpieces of Classical Music — Béla Bartók: Concerto for Orchestra
In the Euroarts series Discovering Masterpieces of Classical Music: Documentary & Performance, the volume devoted to Béla Bartók’s Concerto for Orchestra stands out as a particularly accessible and well-executed release.
As with the other DVDs in this series, the contents of the disc are divided between an analysis of the work as its “Documentary” and a film of a performance of the work, and this combination makes the release particularly useful as a teaching tool. To the credit of Günter Atteln, who was responsible for it, the documentary nicely allows historical background to intersect with a description of the music. More than that, the use of iconography helps to give a concrete image of the composer and that is a fine springboard for the interviews with the conductor Pierre Boulez.
Going further, it is useful to have the musical passages illustrated at times with images of the notation, so that students who view the documentary can have some reinforcement of the connections between written music and audible sound it represents. This demonstrates the well considered presentation behind the series, which extends further into the well-written script, inviting narration, and fine pacing. Moreover, through its focus and concision, the documentation on Bartók’s Concerto for Orchestra serves the work well through the balance it offers on biography, analysis, and cultural elements.
Moreover, it is useful for audiences to hear the esteemed composer and conductor Pierre Boulez interviewed apart from his presence on the podium for the performance of the work. Boulez’s authoritative voice demonstrates his fluency in German, and the subtitles are a solid way for audiences unfamiliar with that language to apprehend his comments without the artifice of dubbing or other such means. As such, the interspersing of the female narrative speaking idiomatic British English with the continental Boulez commenting in German also contributes a nice variety to the spoken work in that part of the DVD.
As to the performance itself, the concert of the Berlin Philharmonic was given at the Mosteiro des Jerónimos, Lisbon on 1 May 2003. This monastery provides a picturesque background for the performance with its soaring, Gothic arches giving a sense of spaciousness to the concert. The acoustics in this performance space serve the work well, with its clean resonance for the burnished sound of the Berlin Philharmonic. In fact, the performance itself is one which deserves attention its own merits, as a relatively rare presentation of this work on DVD. The apse of the monastery allows for some excellent sightlines for capturing Boulez’s conducting well, and the lighting allows for some fine shots of the orchestra which avoid the glare which sometimes occurs in films of concerts on stage. At the same time, the position of the orchestra and conductor on almost the same visual plane as the audience adds a further level of accessibility to audiences who may be less familiar with this work or other examples of concert music.
The visual images are clear and immediate, the sound rich and full. With subtitles available in French, German, English, and Spanish, it should be possible for people in various Western countries to enjoy this DVD. In addition, the booklet accompanying the DVD contains a brief essay by Wolfgang Stähr, along with a pithy timeline of Bartók’s career, and a glossary of musical terms in German, French and English. (For the latter, a three-volume alignment would have been useful for teaching purposes.) All in all, it is a welcome addition to the series and a fine tribute to one of the masterworks of Bartók. Such an introduction would allow new audiences to delve more deeply into the Concerto for Orchestra. From here it would not be difficult for those interested to move to other music by Bartók, including such fine works for the stage as the ballet The Miraculous Mandarin or the opera Bluebeard’s Castle.
James L. Zychowicz