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Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
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.
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