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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.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
20 Sep 2009
Die schöne Müllerin by Mark Padmore, Wigmore Hall
Schubert’s first song-cycle is a perfect choice with which to open a
new concert season, and the Wigmore Hall was packed on Friday evening in
anticipation of this recital by tenor Mark Padmore, much admired for the focus
and concentration of his ‘story-telling’, and Paul Lewis, one of
the most expressive and poetic of pianists today.
In the event, this was a controlled and precise rendition of Die schöne
Müllerin, thoughtfully conceived and executed with commitment and
integrity. The contrasts and juxtapositions of the text — as the wanderer
fluctuates between hope and desperation — were conveyed by skilfully
controlled oppositions of dynamic, tonality and tempo. Thus, a perfectly paced
and well-structured whole was enriched by carefully considered gestures: for
example, small hesitations — before Padmore’s exquisite
pianissimo of ‘Das Wasser’ in ‘Das Wandern’
(‘Journeying’), or preceding the piano’s shift to the minor
key half-way through ‘Wohin?’ (‘Where to?’), to name
but two of many such subtleties — enhanced the fluctuations between
excitement and longing, between optimism and despair. Similarly, the energy of
Lewis’s introduction to ‘Halt’ (‘Halt!’) captured
the young man’s eager exhilaration; while, the final, weighty, assertive
chords of ‘Ungeld’ (‘Impatience’) and
‘Mein!’ (‘Mine!’) conveyed the surety, and
misguidedness, of his conviction that “Dein ist mein Herz, und sol les
ewig bleiben” (“My heart is yours, and shall be forever!”).
Moreover, a sudden accelerando at the concluding line of ‘Die
böse farbe’ (‘The hateful colour’) communicated the agony
felt at departure, underlying the impassioned cry, “Zum Abschied deine
Hand!” (“give me your hand in parting!)
Indeed, in many ways the performers seemed to have exchanged their
conventional roles: from the rich assertive gestures of the opening bars of
‘Das Wandern’, it was evident that it was Lewis’s
accompaniment that would propel the musical and dramatic continuity. The piano
was both scene-setter and protagonist: rippling with the recurring arpeggiac
echoes of the brook, Lewis’s accompaniment both depicted the scenes and
source of the tragedy and embodied the inner turmoil of the wanderer’s
mind as he struggles with the fickle ‘murmuring friend’ which lulls
him to his Fate - a fusion of inner and outer, of man and the natural
environment which is truly Romantic.
In contrast, Padmore seemed less implicated, more objective, a teller of a
tale. Making frequent use of a fragile, haunting head voice, he may have kept
his distance from the young lover’s turmoil, but that is not to imply
that sang inexpressively. The tenor’s restraint in the final lines of
‘Pause’ — “Ist es der Nachklang meiner Liebespein/Sol
les das Vorspiel neuer Lieder sein?” (“Is this the echo of my
love’s torment/Or the prelude to new songs?”) — evoked the
bitter-sweet nature of the young man’s love, and his growing
self-knowledge. The octave rise on “Leibesnot”,
(“Anguish’), in ‘Die liebe Farbe’ (‘The beloved
colour’), the touching intensification and colouring of “mein
Herz” in ‘Ungeduld’, the guileless tenderness of the
timorous, pained questions “Wie welk, wie blaβ? … Wovon so
naβ?” (“Why faded, why pale? … What makes you
wet?”) in ‘Trockne Blumen’ (‘Withered Flowers’)
similarly demonstrated an impressive and coherent attention to detail.
Yet, one could not help feeling that Padmore’s delivery was rather
limited in tonal range, and thus in emotional variety. Over-use of a withdrawn,
plaintive timbre, together with a marked absence of vibrato throughout,
resulted in a weakening of dramatic impact, as familiarity weakened the meaning
and effect. Padmore’s diction, however, was excellent, even in the
‘busier’ numbers, such as ‘Der Jäger’ (‘The
Hunter’) where the pace and energetic accompaniment were no hindrance to
clarity. But, both performers seemed more at ease in the quieter, tranquil
songs, and here the ensemble was outstanding. Lewis’s understated
repeating rhythmic patterns in the closing two songs created an air of
inevitability as the distant call of the brook itself lured the wanderer, and
the audience, to its depths.
This was a genuinely unified conception and performance. One may like
one’s Schubert more fervent, more wrought or more turbulent, but Padmore
and Lewis offered a reading of clarity and cohesion, shaping and sustaining the
emotional and narrative journey, and creating moments of great sadness,
serenity and beauty along the way.