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This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.
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.