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Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.
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.
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.