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A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
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.