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Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
23 Aug 2009
Paul Hindemith: Die junge Magd, Op. 23, no. 2; Ernst Toch: Die chinesische Flöte, Op. 29.
Gustav Mahler was not alone in setting verses from Hans Bethge’s collection of Chinese-inspired poetry entitled Die chinesische Flöte, as he did in his symphonic song cycle Das Lied von der Erde.
In contrast to Mahler’s effort, Ernst Toch composed a three-movement work which makes use of Bethge’s title for its setting of three poems: “Die geheimnisvolle Flöte,” “Die Ratte,” and “Das Los des Menschen.” Among the recent selections in the series Edition Staatskapelle Dresden is a CD which includes an historic performance of Toch’s Die Chinesische Flöte, a setting of three of Bethge’s poems, from 22 February 1949 along with a recording from 15 September 1948 of Paul Hindemith’s Die junge Magd, Op. 23b.
Dating from 1922 Ernst Toch’s Die chinesische Flöte, Op. 29 is a substantially different work than Mahler’s more familiar setting of Bethge’s poetry. From the outset the spare timbres connote a different style. In contrast to Mahler’s Das Lied von der Erde, in which chamber-music texts are part of the larger fabric of the work, Toch’s Chinesische Flöte is conceived for solo voice and chamber orchestra. Almost programmatically, the solo flute is prominent in the first movement, Toch’s setting of “Die geheimnisvolle Flöte,” and complements the voice throughout the work. Toch is sensitive to Bethge’s text, and allows the declamation to emerge readily in his sometimes spare orchestral textures. Likewise, he makes effective use of instrumental interludes to set off the verses of the poem and thus underscore the text, rather than render it all at once and thus risk losing the attention of the listeners. Inspired by the original text of Li Tai Pao, Bethge recreated in German the sense of remoteness to which Toch responded appropriately. Trötschel captures the sense of text well with her phrasing and intonations. Since the piece lies well for Trötschel’s voice, she is able to convey in this performance shades of meaning in the text.
The second setting in this cycle is a much shorter, somewhat ironic text entitled “Die Ratte” (“The Rat”), a metaphor for an obsession. Thus, the rapid-fire declamation that Toch uses is entirely appropriate to the verse, and serves as an excellent contrast to the sense of remote calm he achieved in the first piece. Again, Trötschel brings a natural kind of phrasing to the delivery, which is always clear and distinct. The third and final piece is “Das Los des Menschens” (“The Lot of Mankind”) a poem in which the summer season becomes a means of expressing something of the angst about human existence. Here Toch adapts from cliché sounds associated with the orient in the accompaniment in a setting with equal weight to the first. The instrumental music is more prominent than in the first movement and serves to punctuate the verses in this setting. Trötschel’s delivery brings clarity to this performance, which allows the text to be heard distinctly. The latter serves well for those who want to hear Bethge’s text, which is, unfortunately, not reproduced in the liner notes - for these pieces and Hindemith’s Hänssler offers the texts only in English translation, rather than the conventional bi- or trilingual presentation association with Lieder or chansons.
Composed around the same time, Hindemith’s song cycle Die junge Magd also makes use of a chamber ensemble for its accompaniment, specifically a string quartet augmented by flute and clarinet. The resulting timbres involve some of the composer’s distinctive style, which underscores the expressive dissonances he used in his settings some of the Austrian poet’s Georg Trakl’s verse The poems express some of the meaninglessness aspects of human existence, and Himdemith’s settings intensify them. Further, Ruth Lange brought out the introspective nature of the work with her idiomatic performance of the music. Performed in Germany shortly after the end of World War II, this work bears a further level of meaning, through a recording made during the rebuilding of a country which was at the forefront of modernism. The first poem of the cycle is particularly effective “Oft am Brunnen” and each of the succeeding five songs has something to offer. The recording is remarkably reproduced well in this CD, but it would be useful to have the texts reproduced in the accompanying booklet. As interesting as it is to have more background on the performers than usually occurs, the text is essential to pieces like this, which are available less frequently in recordings than other
James L. Zychowicz