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Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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