Recently in Reviews
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
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.
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.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
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.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
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.
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.