Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

OPERA TODAY ARCHIVES »

Reviews

Israel in Ägypten (Fassung von Mendelssohn 1833)
15 Sep 2009

Handel/arranged by Mendelssohn: Israel in Egypt

If, dear reader, a desire has ever swept over you (a desire such as a pregnant woman's craving for vanilla ice cream with pickles) to hear music reminiscent of both Messiah and the Fingal's Cave overture, CPO is just the musical ice cream parlor/deli for you.

G. F. Handel: Israel in Ägypten (Fassung von Mendelssohn 1833)

Monika Frimmer, Veronika Winter, Heike Grötzinger, Hans Jörg Mammel, Ekkehard Abele, Gregor Finke, Rheinische Kantorei, Das Kleine Konzert, Hermann Max

CPO 777 222-2 [2CDs]

$34.98  Click to buy

Felix Mendelssohn famously resurrected masterpieces from Johann Sebastian Bach that had, unbelievably, slipped into obscurity in the early 19th century. But he didn’t stop there. This set revives Mendelssohn’s reorchestration of Handel’s Israel in Egypt.

The finely detailed booklet essay by Thomas Synfozik (as translated into English by Susan Marie Praeder) explains the circumstances of the work’s creation and its debut. Apparently Mendelssohn’s version of Handel’s oratorio enjoyed some popularity for a time. In the last few decades, however, a greater appreciation has developed for this and other works by Handel as the composer himself set them (admittedly, with innumerable variations for cast and venue differences).

The guiding force of this performance is Hermann Max, whose booklet biography places him as one of the “key figures” in the development of “authentic performance” in Germany. So we have the oxymoron here of inauthentic authenticity - Mendelssohn’s rewrite of Handel for another time’s tastes is played here with respect for the musical traditions of Mendelssohn’s time.

Ultimately, all that matters is the quality of the performance, and the set qualifies as a success. Max’s orchestra, Das Kleine Konzert, suffers from none of the demerits often associated with “historically informed performance.” Strings, though not large in number, do not scratch and rasp, horns do not bleat. Rhythms are flexible yet disciplined.

All of the six soloists - in a piece with relatively few solo arias for its length - all sing well. One of the two sopranos - the track listing makes any further identification impossible - does have such a piercing, high-lying tone that she resembles a boy soprano. That may well be intentional. The Rheinische Kantorei has a dominant role, and they sing with clarity and color.

Mendelssohn’s version as performed here comes in at just a little over 80 minutes, requiring a second disc. For the time being, most fans of Handel’s oratorio will surely prefer to hear his work as he set it, but this makes an entertaining supplement. Also entertaining are the photos of Hermann Max in the booklet, whose remarkable head of hair suggests what Herbert von Karajan would like with an Afro.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):