Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

OPERA TODAY ARCHIVES »

Reviews

Matthias Goerne [Photo by Marco Borggreve for harmonia mundi]
24 Sep 2009

Incomparable Schubert — Goerne at the Wigmore Hall Part 2

This programme of mostly solemn, elevated music based around songs on such themes as Evening, Death and Immutability was part of Matthias Goerne’s ‘Journey with Schubert’ during which he is recording the songs on eleven CDs and presenting the series in recitals all over the world. If the singing on this occasion is anything to go by, these recordings are set to become the standard to which other singers should aspire.

Matthias Goerne at Wigmore Hall, Part 2

Matthias Goerne (baritone), Alexander Schmalcz (piano)

Nacht und Träume; Der blinde Knabe; Hoffnung; Die Sterne; Vor meiner Wiege; Totengräbers Weise; Greisengesang; Tiefes Leid; Totengräbers Heimweh; An den Mond; Die Mainacht; An Silvia; Ständchen; Der Schäfer und der Reiter; Die Sommernacht; Erntelied; Herbstlied; Jägers Abendlied; Der liebliche Stern; An die Geliebte

 

Goerne’s unwavering legato, at once intimate and yet redolent of grandeur, is, frankly, matchless - no other singer, recorded or currently active, can sustain the long, flowing lines of songs such as ‘Nacht und Träume’ and ‘Im Abendrot’ with his ease, intensity and phenomenal breath control: this recital displayed that unique ability to tremendous effect. He began with the former song - daring as an introduction, but a wonderful way to establish the atmosphere of this sombre, deeply philosophical evening. Of course he respects the marking of langsam as few other singers can, yet he still sustains the inner rhythm of the lines: it was a pity that Alexander Schmalcz’ playing was a little on the heavy side.

I must have heard ‘Im Abendrot’ at least a hundred times in recital, but never like this - sehr langsam is the instruction, and Goerne intones the spacious, expansive melody with such quiet fervour that you find yourself holding your breath: the silence in the hall after ‘In mein stilles fenster sinkt’ was like the lull before a huge storm, far away yet imminently expected. Superb.

Graham Johnson wrote of ‘Die Sterne’ (Schlegel) that the singer with the breath control needed to execute its phrases ‘seems synonymous with someone who has ‘seen the light’ and this most unusual of Schubert’s ‘star’ songs indeed presents lofty challenges, to each of which Goerne rises with great skill, his shimmering high notes displayed to as much advantage as his warm, bass-baritone depths.

‘Der liebliche Stern’ has been described as a ‘humdrum’ song, but not here - Goerne’s tender, earnest phrasing and Schmalcz’ wistful playing of the ostinato accompaniment made for an intense experience, ‘Es zittert von Frühlingswinden’ living up to Gerald Moore’s requirement for the singer to ‘love each phrase’ and to sing with ‘the smoothest calmest line.’

‘Totengräbers Heimweh’ is the song of which it was once said that Goerne’s interpretation of it was ‘incomparable - his singing comes from inside’ and this was amply illustrated by this evening’s performance of it. From the fervid questioning of the start - ‘Wohin? o wohin?’ through the anguished depths of ‘Ich stehe allein! - so ganz allein!’ to the spellbinding mezza-voce of ‘O Heimat des Friedens, Der Seligen Land!’ in which the long phrases were given in one seemingly effortless arch of sound, this truly was singing with which it is very difficult to find anything to compare. The single encore, ‘An den Mond’ (‘Fullest wieder Busch und Tal’) was a fitting conclusion to this evening of peerless singing.

Melanie Eskenazi

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):