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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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