Recently in Reviews
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
20 Sep 2009
Goerne sings Schubert at the Wigmore Hall
When Matthias Goerne sings, it’s never superficial. Lieder is a genre that needs almost as much engagement from listeners as from performers. “It's like a church in there”, someone said to me about the Wigmore Hall. “They’re really listening”.
Schubert’s settings of Mayrhofer filled the first part of the recital. Mayrhofer was an unstable personality who dramatically drowned himself. That happened years after these songs were written, but even his youth Mayrhofer had an unhealthy fascination with death, with water, stars and death, extreme even by the standards of early 19th century Romanticism. How much Schubert sensed Mayrhofer’s problems, we’ll never know as he broke off their friendship soon after the songs were written. But in these settings there’s a distinct sense of unnatural calm.
Steady, undulating rhythms evoke waves, whether on the Danube or in Venice. The effect is almost hypnotic, revealing Mayrhofer’s obsessional fixations. Water images occur frequently in Schubert’s music, but rarely as unnervingly as in these songs. “Die Erde ist gewaltig schön doch sicher ist sie nicht” (“Wie Ulfru fischt”, D 525) No wonder the poet envies the fish hidden in the depths, and the stars in the sky above.
The incessant rocking rhythms of the waters are matched by delicate triplets which evoke the twinkling of distant stars. “Lied eines Schiffers an die Dioskuren” (D 360) is relatively calm, for it describes a sailor already on his journey to death, guided and comforted by the stars.
In performance, sometimes the loveliness of these songs distracts from true meaning, but a singer like Goerne understands their inner portent. His voice is capable of great force and fire, but in these songs he tempered power with extreme restraint, true to the spirit of Mayrhofer who was desperately keeping his demons under control.
Goethe’s Wilhelm Meister poems lend themselves to much greater dramatic intensity .As he enters his forties, Goerne’s voice has grown with maturity. There’s no one singing now who can match the gravitas of his lower register, but what’s even more impressive is the fluidity with which he can phrase and color words within lines with precise nuance.
These songs allow moments of great power. “Wer nie sein Brot mit Tränen aß” (D 840) culminates in crescendi of anguish, which Goerne expresses with surges, not of volume alone, but of emotional depth. Eric Schneider has been playing with Goerne for about 15 years, but now he’s playing with more articulation and maturity. In the Mayrhofer settings his “star” and “water” passages were eerily acute. In the Harper songs, he made the piano sing like a harp, not a huge concert hall harp, but the smaller, more intimate harp a wandering minstrel like Wilhelm Meister would have played: it was uncannily vivid, very haunting.
“An Mignon” (D 161) refers to Mignon, whose frail innocence is tested by tragedy. In many ways, Goerne’s agility in lighter, higher passages is even more impressive, for dark timbred voices don’t easily lend themselves to such gentleness. Fast paced songs also test a deep baritone, so the frisky “Der Fischer” (D225) truly tested the agility of Goerne’s pacing. When he sings the words of the girl in the poem he doesn’t even try to mimic a female voice, instead making the transition by brightening and sharpening the tone.
Good technique makes such singing possible, but what makes Goerne’s musicianship so interesting is the emotional depths he can reach. “Ich denke dein” he sings in “Nähe des Geliebten” (D 62), warmed with heartfelt ardor. But the beloved isn’t actually near but far away. So the voice swells, open-throated, matching the expansive motifs in the piano part.
This was the first of two Schubert recitals taking place at the Wigmore Hall in London. The second will also appear here in Opera Today.