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On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
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Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
Peasants revolt in a sea of Maserati and Ferrari’s.
30 Aug 2009
Gustav Mahler: Songs from Des Knaben Wunderhorn
Following from the fine collaboration between Stephan Genz and Roger Vignoles on an ambitious collection of various sets of Mahler’s Lieder (Hyperion CD 67392), which includes some of the composer’s early settings of poetry from the anthology Des Knaben Wunderhorn, the present recording contains thirteen later settings from that source.
Some of the most familiar of Mahler’s Wunderhorn Lieder, these are also among the most challenging. From the opening piece, Mahler’s setting of Revelge, the dynamic interaction between the two performers is evident. This is a vibrant rendering of Mahler’s Des Knaben Wunderhorn in the versions for voice and piano, a setting which requires the idiomatic approach Vignoles uses for the accompaniment and the nuanced tone Genz uses to evoke a sense of chamber music. Lacking the sonorous orchestral accompaniment, the singer is more exposed, and this allows Genz to display his vocal finesse well.
If the opening selection in this recording, Revelge, can be stentorian in some performances of the orchestral version, it requires the full-bodied intensity Genz uses to evoke the military music evoked in this setting. Here Vignoles’ lively approach to the accompaniment support’s the musical structure well, especially in the use of crisp articulation to suggest the percussive aspect of Mahler’s musical gestures. In contrast to this more extroverted song, the interpretation of Rheinlegendchen is wonderfully subtle, and Genz’s phrasing of certain lines is memorable for the nuances he brings to a song which deserves such attention to detail.
Vignoles makes use of a similar subtlety in Wo die schönen Trompeten blasen, a setting which benefits from the restraint the accompanist evinces, so that the vocal line can accumulate intensity in its execution. Here Genz’s sustained pitches are quite affective, and his sometimes hesitate approach to various lines is something difficult to achieve well with the full orchestra on stage. In the close ensemble with Vignoles, details like these emerge easily and to the benefit of literature that needs to be heard in performances like these. The delicacy Genz uses in the lines “Bein meinem Herzallerlieble” and “O Lieb auf grüner Erden” is touching, as is the warm intensity he brings to the sequential passage at the phrase “Sie reicht ihm auch die Schneeweiße Hand.” At the end Vignoles aptly bring out the reference to the folksong “Bruder Martin,” a reference wholly Mahlerian and yet absent from some performances of the piece.
Such synergy occurs in the Erlkönig-like setting of the poem “Verspätung” as Das irdische Leben (the counterpart of Das himmlische Leben, which became the Song-Finale of Mahler’s Fourth Symphony) With its perpetuum mobile accompaniment, Mahler brings out the reversal at the end, where the persistent child succumbs to the hunger its mother will not sate. In this performance Vignoles allows the accompaniment to bring details to the song, and thus supports Genz well. A similar kind of accompanying figure is part of the structure of the following song Des Antonius von Padua Fischpredigt, and the gesture in this piece reinforces the text in reference to recalcitrant audience of unrepentant fish, the metaphor for humanity’s failure to heed even the sermons of saints. In this performance the tempos are slightly slower than some take, and this allows a welcome clarity to come to the fore in the accompaniment - the vocal line benefits from the clear enunciation of the text, so necessary to bring out the irony of the piece.
Vignoles and Genz approach Wer hat dies Liedlein erdacht? in a similar way, and in their execution effect some fine accelerandos that accentuate the text and culminate in an exemplarily clear and even rendering of the vocal line that brings the piece to its conclusion. The use of tempo modifications emerges nicely in Trost im Unglück in which Vignoles and Genz demonstrate a solid interplay necessary for the song. Tempo also affects the way in which Vignoles makes the dissonant tones of the accompaniment figures of Verlorene Müh’ serve as a kind of commentary on the text, which Genz, in turn, intones with appropriate earnestness. Genz’s vocality culminates in a persuasive reading of Urlicht. Removed from the context of Mahler’s Second Symphony, where it serves as a vocal prelude to final movement, *Urlicht *can be challenging. Yet this performance by Genz and Vignoles is a strong reading of the piece, which shows both performers well.
The sound quality of this Hyperion recording serves the performances well, especially in rendering the range of dynamics and articulations Vignoles achieves on the piano. The sometimes close recording sometimes catches a breath from Genz, but it also serves to bring out his fine diction and nicely sustained pitches. It is a solid contribution which deserves attention. As to the presentation itself, Vignoles notes are reminiscent of the informative ones he contributed to his set of the complete chansons of Gabriel Faure. It is good to see his reference to Goethe’s comments about Des Knaben Wunderhorn, an essay which connects the anthology to the generations before Mahler who enjoyed its contents. The texts of the songs are reproduced with translation in English, as found in the previous release of Mahler’s Lieder by these performers on this label.
James L. Zychowicz