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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
30 Aug 2009
Louis Andriessen De Staat at the Proms
De Staat is a seminally important work. So much modern music stems from it, not only “serious” classical music but progressive popular music too. It “is” music theatre, for it’s designed to be experienced live, the visual effect part of the action.
At the BBC Proms in the Royal Albert Hall, it was wonderful to see the brass sections, carefully positioned at each side of the orchestra, catch the light, magnifying the blaze of sound. De Staat is so radical that it still sounds fresh after almost 40 years. Essentially, it’s a wild, almost savage piece that breaks all the rules of form and development that constitute formal music. But such manic, kinetic energy! Driving, compelling rhythmic patterns drive the piece forward. The patterns are circular, revolving on themselves relentlessly without beginning or end. Structurally, blocks of density are intersected by planes of sharp brightness.
De Staat is theatre, designed to be experienced live as its visual impact is very much part of the action. Thus two brass sections are positioned on each side of the orchestra, trombones and trumpets catching the light, so they shine in an ever more dazzling blaze. The harp is placed prominently, for it represents the plucked strings mentioned in the text.
De Staat is also interesting because it transcends text. It’s based on Plato’s The Republic where music is denounced as a form of subversion. The words matter. At early performances, audiences were given the text to read carefully before the beginning. so they’d retain the ideas rather than read them during performance. For De Staat transcends text. The singing is deliberately embedded into the music, almost abstract, like a cryptic code whose meaning goes deeper than surface words. Modern music doesn’t do simple word-painting. Meaning is absorbed, translated into abstract sound.
The texts are in ancient Greek, which most people don’t understand nowadays, which is all the more reason to focus on how the music itself expresses meaning, not just the words. The final chorus is illuminating for it quotes authoritarian dogma dictating what instruments and tonal modes may be used and which forbidden. “Musical change always invokes far-reaching danger. Any alteration in the modes of music is always followed by alteration in the most fundamental laws of the State”.
So Andriessen’s unremitting, hard planes of sound express extreme tension.This Proms performance, conducted by Lucas Vis, leading the Netherlands Wind Ensemble, celebrated the composer’s birthday, so wasn’t quite as distressful as some performances, where the relentless, pounding rhythms create severe anxiety. This is an ensemble for whom the work is basic repertoire - listen to the live recording, also by the Netherlands Wind Ensemble, from the 1978 Holland Festival, included as a CD in the book by* Robert Adlington, Louis Andriessen : De Staat* (Ashgate 2004).
This sense of fear and danger is important, for the driving repetitions represent the idea of enforced conformity. Hence the need for tight, disciplined performance. The very structure of De Staat is meaning. As Andriessen has said, “there is no hierarchy in the parts”. The chorus is only one of the several units in the piece that function in parallel, rather like society itself. . Voices may be suppressed in authoritarian states, but abstract music can still speak. This pertains to much of Andriessen’s work for music theatre and opera, where the action “is” in the music rather than the concept of opera as narrative singing with music..
Andriessen has written several operas, some of which are well known, such a Writing for Vermeer. He’s collaborated fruitfully with Peter Greenaway for several years, reflecting their common interests in music and film. in 2008, Andriessen’s “film opera” La Commedia was featured at the Holland Festival. An excerpt from the opera, The City of Dis, was premeired at the Walt Disney Hall in Los Angeles, conducted by Esa-Pekka Salonen.
This Prom program was extremely well chosen, placing De Staat between Steve Martland’s Beat the Retreat and Cornelis de Bondt’s Closed Doors. Martland’s piece mixes early English music with progressive rock. It’s a cheerful act of irreverent anarchy, written in protest against new government laws on outdoors entertainment. De Bondt’s piece, from 1985, starts and ends with a deep sonic boom that reverberated nicely in the Royal Albert Hall. It’s part of a much larger work that pivots different threads of music history upon each other. That’s why there were two conductors, not in itself any big deal (Charles Ives did it decades ago). Like De Staat, the material circulates, disparate parts that can’t meld although as a whole they make a statement.
The Proms are broadcast every day on BBC Radio 3 and are available online, on demand for seven days after the performance. See www/bbc.co.uk/proms