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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
09 Sep 2009
Fidelio from Glyndebourne and Medici Arts
Beethoven’s Fidelio is actually several works combined — a rescue opera in the grand style of the French revolution, a sentimental comedy focusing on mistaken identity, and a tragédie bourgeoise involving a husband, a wife, and their efforts to re-unite despite the actions of a relentless and implacable foe.
As if this were not enough, the opera is
also Beethoven’s political testament, an attack on tyranny and injustice
initiated (quite literally) with a trumpeted call to arms for the forces of
truth and fraternity. Fortunately, this confused (and some might argue,
irreconcilable) juxtaposition of genres contains some of the composer’s
most beautiful music, and lovers of the work will undoubtedly welcome these two
recently released recordings of Beethoven’s only completed opera. Both
performances date from 2006: an audio recording of a Glyndebourne production
featuring Anja Kampe, Torsten Kerl, and the London Philharmonic conducted by
Mark Elder, and a filmed performance (celebrating the opening of the new Palau
de les Arts of Valencia) with Waltraud Meier and Peter Seiffert accompanied by
the Community Orchestra of Valencia under Zubin Metha.
A comparison of these two productions — one a two CD set, and the
other a DVD — while inherently unfair, is revealing. From the first notes
of the overture it is obvious that the Gyndebourne production features the
better orchestra and more inspired conductor: throughout the performance
Elder’s direction of the LPO is a heavenly delight. This is not meant as
a criticism of Maestro Mehta, however, who still manages to create some
powerful moments while working with a much younger and less accomplished
orchestral ensemble. It is particularly regrettable that, unlike the Valencia
version, the Glyndebourne production does not include a performance of the
third Leonore overture before the second act finale (a tradition,
begun by Mahler in Vienna, which Metha wisely follows). The Gyndebourne
recording also features the better chorus (prepared by Thomas Blunt) —
“O welche Lust” is sung with excellent diction, wonderful dynamic
contrast, and superior balance by the British troupe. Elder’s direction
of the LPO in the performance of the Haydenesque introduction to the chorus is
Waltraud Meier is a dynamic and powerful presence as Leonore, and her
considerable talents are fully utilized in the Valencia production. The
contrast between the vocal styles of Meier and Kampe is nowhere more evident
than in “Mir ist so wunderbar” — Meier’s tone is
commanding and mature, whereas Kampe’s seems less so. This comparison
holds throughout the performances: Meier is simply more convincing and at ease
in the showcase arias and duets. Her performance of “O namenlose
Freude!” with Seiffert is remarkable, and is undoubtedly the happy result
of their frequent collaboration together in other roles (most recently in the
Met production of Tristan). Seiffert is less compelling when Meier is
not on stage, however. Torsten Kerl’s Florestan is more endearing: the
youthful tenor’s rendition of “Gott, Welch Dunkel hier” is
athletic and impassioned, and made all the more enjoyable by the special
touches added by the London Philharmonic’s wonderful accompaniment.
In the secondary roles each performance offers some special moments. Matti
Salminen is surpisingly comfortable in his role as Rocco, and even pulls off
the notoriously awkward “Hat man nicht auch Gold beineben” aria
beautifully. While the voice is at times strained and raspy, his expressive
presence, particularly in ensemble numbers, elevates the performances of his
fellow cast members. Brindley Sherratt’s Rocco is adequate in the
Glydnebourne version, but little more. Lisa Milne is impressive as Marzelline,
and displays an enthusiasm for her role which Ildikó Raimondi seems not to. The
rising Finnish star, Juha Uusitalo is an impressive and menacing Don Pizarro
(seeing him interact on stage with fellow-Finn Salminen in the “Es
schlägt der Rache Stunde” is a real treat), and Rainer Trost is a far
more convincing and lyric Jaquino than Andrew Kennedy, whose voice seems forced
and pinched throughout much of the performance.
Pierluigi Pier’Alli’s direction of the Valencia version features
some fascinating video effects. His creative use of the motif of chains and
prison bars (projected onto the screen on stage) which leads to
Florestan’s aria to open Act II is highly effective. Despite this, some
may find his otherwise rather conservative approach to much of the rest of the
work a trifle dull, and it is unfortunate that Deborah Warner’s edgy
Glyndebourne production can only be seen in a few photos in the album notes.
One welcomes Pier’Alli’s willingness to allow Meier an opportunity
to explore the full range of her dramatic abilities, particularly during the
prisoner’s chorus, where the soprano wanders the stage in a futile search
for Florestan — an unforgettable effect which she brings off
Because of the merits of each performance it is difficult to choose between
these two recordings. The Glyndebourne version is dynamic and more aurally
pleasing, but the added visual dimension of the Valencia recording is quite
powerful. Certainly, newcomers to Fidelio will appreciate the DVD
version more than a sound recording, even a relatively good one. I suspect that
those who already know the opera well will enjoy both of these new issues
— each performance brings out different facets of the work, an opera
which, despite its many flaws, remains one of the most enjoyable products of
Donald R. Boomgaarden
Dean of the College of Music and Fine Arts
Loyola University New Orleans