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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
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.
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.