Recently in Reviews
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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