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‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
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.