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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
15 Sep 2009
Gustav Mahler: Symphony no. 4 in G major
The legacy of the late conductor Giuseppe Sinopoli includes a number of fine recordings of Mahler’s music, and among them is his Deutsche Grammophon recording of the composer’s Fourth Symphony with the Philharmonia Orchestra and the soprano Edita Gruberova.
While that recording dates from the early 1990s, Sinopoli performed the work later in his career with different forces, and that resulted in an impressive reading of the Fourth Symphony with the Staatskapelle Dresden. The performance of the Fourth Symphony was part of the 1999 Dresden Music Festival, specifically a concert given on 29 May 1999. With this recent issue by Hänssler in its Profil series in the Edition Staatskapelle Dresden, a fine recording of that performance is now available.
This later recording is notable in several way, since it is an impressive performance of the work and involves a fine interpretation of the Song-Finale “Das himmlische Leben” by the soprano Juliane Banse. In addition, the recording also preserves a seventeen-minute talk by Sinopoli, which serves as an introduction to the work. (The talk is given in German, with a transcription by Eberhard Steindorf included in the program notes.)
As a respected interpreter of Mahler’s music, Sinopoli brings a fine sense of style to his conception of this work. The first movement is conceived well, with a deft sensitivity to the form of the movement and its scoring. From the opening moments of the movement, Sinopoli conveys a dynamism, which allows the work to move forward. His tempo for the opening gesture, the so-called *Schellenkappe *- the jangling bells of the fool’s cap - are perfunctory, so that Sinopoli can give a more nuanced shape to the main theme. This kind of fluidity is characteristic of the entire movement is carefully structured, without seeming calculated. Such attention to details is consistent throughout, and includes a well-conceived tempo for the coda, which has the appropriate sense of underscoring the music that came before it.
With the Scherzo, Sinopli offers a similarly structured approach to the work, so that the passages for the *scordatura *solo violin emerged easily. A similar expansiveness occurs later, when other solo instruments are part of the structure, and the latitude Sinopoli gave those entrances fits well into the overall . His sense of drama at eh climax of the movement stands out from other performances, because of the breadth Sinopoli adds to the music at this point. The cadence into the section suggests, momentarily a sense of rubato, which the strings take up in an exemplary rendering of the portamento Mahler indicated in the score.
The third movement contains an emotional pitch which needs the expression Sinopoli used in this performance. From the opening measures, which evoke the ensemble “Mir ist so wunderbar” in the quartet from the first act of Beethoven’s opera Fidelio, Sinopoli offers a clear vision of this tightly structured movement. A set of double variations, the performance also has a sense of spontaneity which comes from the intense playing of the Staatskapelle Dresden. The sustained pitches of the violins never flag, while the wind sonorities intersect without becoming overbearing. Without seeing the performance, it is possible to perceive an intensity in the interactions of the members of the orchestra in this recording. In some of the passages of the slow movement, the players seems attuned to the score, such that the give-and-take which necessarily occurs in professional ensembles like this one is even more acute. Midway through the movement, in the passage for solo oboe, the slightly slower tempo that Sinopoli used, allows details to emerge, like the written-out ornaments and the horn figures which response to each other distinctively. While it is nowhere rushed, the movement contains a well-considered intensity that solidly sets up the coda, the famous fanfare, which anticipates the concluding movement found in the song “Das himmlische Leben.” As elsewhere in this performance, no details have escaped Sinopoli, and his attention to the final measures of the coda demonstrate his knowledge of Mahler’s works in the way he brought out the motivic relationship to the song “Ich bin der Welt abhanden gekommen”in the thematic content, while simultaneously rendered the texture so that it has a timbral affinity to the scoring, which anticipates the *Adagietto *of the Fifth Symphony.
In the concluding movement, Juliane Banse offers a sensitive reading of the Song-Finale, with exemplary diction and expression. Her phrasing makes sense of both the poetry and its musical setting, a combination which is lauded, but rarely executed. That stated, Banse offers here a moving and insightful reading of the song. The balance between the lower and upper registers of her voice is nicely even, and complemented by a fine tone in the sustained pitches, which Banse takes to the full values of the notation. It is difficult to point to any single passage without slighting others, but the phrase “Sanct Ursula dazu lacht” evinces the dynamic tension and insightful musicality of Banse’s performance, with the portamento reinforcing the cadence and the change of mood in the song. This is but one passage in a performance which is consistently satisfying on various levels. Moreover, in conceiving the Song-Finale, Sinopoli has taken the movement a little more slowly than some other conductors, and this brings out certain elements, which connect the song to the movements which precede it. It is, ultimately, a convincing performance because of the intensity, which emerges in the various details that come together brilliantly.
This performance is a fine addition to the discography of the composer, and especially that of the Fourth Symphony. While a number of fine recordings of this work exist, the execution of the score in this particular performance offer perspectives which demonstrate the perennial appeal of this work. Without displacing the other fine recording of the Fourth Symphony which Sinopoli released, those who appreciate his intelligent and exciting art will not be disappointed in this extraordinary performance from the latter part of his career. Moreover, Sinopoli’s introduction to the work, the last band of the CD, affords the opportunity of hearing the late conductor talk about this music in person, and this is a welcome bonus on this outstanding recording.
James L. Zychowicz