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This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
23 Aug 2009
The Full Monteverdi: A Film by John la Bouchardière
Although the cutesy title sounds like something conjured up by a community
college marketing intern working for a mid-sized city orchestra’s ticket
office—where every concert featuring Wagner and Brahms gets the sobriquet
“Teutonic Titans”—don’t be put off by the moniker. This film is a brilliant adaptation of Monteverdi’s Fourth Book of Madrigals that is totally faithful to the composer’s music.
The development of opera in Italy is largely unthinkable without the
madrigal. Although the madrigal was a highly sophisticated musico-poetic form
featuring advanced harmonies and subtle texts of great literary value, it was,
after all, a choral form meant for unstaged performance. Yet the dramatic power
of the madrigal was such that monody—an early form of recitative--would
eventually evolve from it. What director John la Bouchardière and the members
of I Fagiolini have done is to demonstrate in a staged version the dramatic and
rhetorical power of Monteverdi’s madrigals.
The Fourth Book of Madrigals for 6 voices (1603) is perhaps
Monteverdi’s most famous book of madrigals because they were used by the
composer to adumbrate the principles of the seconda prattica, that is,
madrigals in which the composition of the music followed the lead of the
rhetoric of the poetry. The Fourth Book is also notable for the high quality of
the texts, consisting of poems by Giovanni Guarini (Il pastor fido)
and Torquato Tasso among others. The 19 madrigals of the book share an
emotional intensity expressive of the ebb and flow of a profound love. What the
creators of this film have done is to pair each of the six singers with an
actor and then to stage the performance as though it were six couples who
coincidentally are having dinner at a contemporary restaurant. This allows each
of the singers to have a dramatic foil, a person who is the object of the
subjective text. This is a brilliant conceit and it works spectacularly well.
What is even more remarkable is that this movie is a studio filming of the work
that was originally performed live on stage. It is hard to imagine the
concentration involved in performing highly chromatic madrigals with the
performers not being in close proximity, and at time not even facing one
The film introduces a personalization of the intense emotional drama,
alternating its focus among the various couples and even allowing for visual
flashbacks as the music unfolds. Thus, we can be given the “back
story” visually (for example, a past argument) as the couple in question
grieves for a split up that is about to take place. Although they have no words
to say, the task for the six actors is especially daunting as they must express
the rhetorical and dramatic power of the madrigals utilizing only facial cues
and body gestures and avoiding the overly melodramatic style of silent film
Another aspect of this film that I found particularly satisfying is that a
number of the madrigals are performed attacca. The elision of the performances
of the madrigals heightens their poetic and dramatic unity, even when the texts
of the madrigals are by different authors.
Madrigals of this sort were considered to be musica reservata, that is,
music of extraordinary complexity and subtlety that was meant to be appreciated
primarily by a highly educated and relatively small elite. As such, seconda
prattica madrigals are often a tough go for the uninitiated and especially
so for the typical college music appreciation student. This film makes explicit
the drama that is inherent in the music and poetry and can, therefore, do a
great deal to promote appreciation of Monteverdi’s madrigals.
The members of I Fagiolini sing with tremendous expressivity, flawless
intonation, and amazing vocal technique. So convincing was their performance
that it was not difficult at all to suspend disbelief at watching 21st century
couples in a restaurant sing Italian madrigals while breaking up before the
first course. This is a highly recommended DVD that should prove attractive to
both opera lovers and early music devotees.
William E. Grim