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Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
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.
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