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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
03 Aug 2009
Vivaldi: La fida ninfa
Although Antonio Vivaldi’s instrumental compositions were highly popular in his lifetime, and have been held in high regard throughout the centuries, most of his operas have been — until recently — relegated to obscurity.
This sad state of affairs is being rectified by the
wonderful new series of opera recordings available through the Naïve label,
part of its larger Vivaldi Edition project. Naïve’s most recent offering
in this series is a concert production of La fida ninfa, a work which
was premiered at the opening of Verona’s Teatro Filarmonico in January of
1732. One of the organizers of the event was the librettist, Francesco
Scipione, Marquis di Maffei. Scipione was a Jesuit-educated aristocrat who
specialized in Etruscology, dramatic theory, and classical philology —
but still managed to find time to participate in the War of the Spanish
Succession and, in his later years, write a famous theological tract attacking
Jansenist doctrines. The poet’s most famous literary effort was
undoubtedly his dramma, Merope, a work which served as one of the
models for Voltaire’s tragedy of the same name. Unfortunately
Scipione’s libretto for La fida Ninfa, an allegory on
matrimonial love replete with love-struck nymphs, grumpy pirates, and multiple
cases of mistaken identity, is less distinguished. While it is a credit to the
composer that he was still able to create an impressive work from this clichéd
literary material, the lack of a convincing plot line weakens the overall
impact of the opera.
More significant for modern listeners, however, is the fact that La fida
ninfa betrays the influences of the new musical style which manifested
itself most powerfully a year later in the work of Pergolesi — La
serva padrona. This new approach can be heard immediately in the overture
of Vivaldi’s work, which features short, repeated melodic motifs, a
decidedly homophonic texture, and the spare harmonic palette more typical of
the mid-century style than the high baroque. This impression is only
strengthened in the many beautiful solo arias and duets of the opera, where
there is an unmistakable emphasis on simplicity and clarity of formal
structures. Also indicative of this new style are the ensemble numbers which
end each of the three acts: the remarkably beautiful trio finale of Act I
(“S’egli è ver”), the quartet which concludes Act II
(“Così fu gl’occhi miei?”), and the duet/choral conclusion of
Act III (“Non temer”) sound much less like Vivaldi than they do
Pergolesi or even Mozart.
Musical highlights of this recording include the restrained virtuosity of
Verónica Cangemi as Morasto (her interpretation of the Act I aria “Dolce
fiamma” is particularly fine), and the musicality of Topi Lehtipuu
(Narete), who brings a relaxed and confident tone to all his solo arias.
Vivaldi lovers will especially enjoy Narete’s beautiful lament
(“Deh ti piega”) in Act II, where the very able conductor,
Jean-Christophe Spinosi, creates an astonishingly sensitive interplay between
the tenor and the orchestra. Lorenzo Regazzo is highly effective in his
near-buffo role as Oralto, the spurned and highly irritable pirate,
and Sandrine Piau portrays Licori, the faithful nymph, with great sensitivity
and an impressive command baroque vocal technique. While there is no shortage
of vocal fireworks in this recording (Cangemi’s virtuoso performance of
“Destino avaro” in Act II verges on the unbelievable) the pastoral
moments of La fida ninfa seem the most memorable: the haunting duets
“Dimmi pastore” (Act I) between Philippe Jaroussky (Osmino) and
Marie-Nicole Lemieux (Elpina) and “Pan, ch’ognun venera”
between Lehtipuu and Jaroussky in Act III are spectacular. It is in these less
hurried sections of the opera that Spinosi’s orchestra displays its
wonderful musicality and attention to detail which are the hallmarks of the
Vivaldi recordings of the Ensemble Matheus.
La fida ninfa is not one of Vivaldi’s better efforts. The
music for the finale, which features a dialogue between Juno and Aeolus
(competently sung by Sara Mingardo and Christian Senn), is artificial and
uninspired. Even the Tempesta di mare which precedes the last scene is
a disappointment (through no fault of the orchestra) and does not measure up to
similar moments Vivaldi’s Seasons, for example. The fact that
this opera was composed in great haste (Vivaldi was not even the first choice
of the organizers of the theatre opening, having replaced their preferred
composer, Giuseppe Maria Orlandini, at the last moment) is sadly apparent in
some of the music. Even so, the Ensemble Matheus’ fine performance of
this work is remarkable, and more than compensates for the occasional
weaknesses of the composition and blandness of Scipione’s libretto.
Donald R. Boomgaarden
Dean, College of Music and Fine Arts
Loyola University New Orleans