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

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

OPERA TODAY ARCHIVES »

Reviews

Gustav Mahler: Symphony no. 1
09 Sep 2009

Mahler: Symphony no. 1

Among the important recent cycles of Mahler’s symphonies is the one underway by Valery Gergiev with the London Symphony Orchestra.

Gustav Mahler: Symphony no. 1

London Symphony Orchestra. Valery Gergiev, conductor.

LSO 063 [SACD]

$18.98  Click to buy

Still in process, the recordings of Symphonies nos. 2, 3, 6, and 7 have been issued to date, with the release of Symphony no. 8 immanent. (Gergiev included the Adagio of the unfinished Tenth Symphony with the recording of Symphony no. 2). In addition, the recently issued CD of the First Symphony stems from live performances given in January 2008 at the Barbican, London. From the outset the sound is vivid, and it matches the somewhat vibrant approach Valery Gergiev has taken for the first movement. Yet the rather quick tempos do not always match the character of the music As ambiguous as the marking “Wie ein Naturlaut” (“like a sound in nature”) may be, the suggestion is usually taken to allow the opening to take shape slowly. Instead of the kind of atmospheric introduction which other conductors achieve, the pacing of the short ideas that follow moves to the main theme of the movement very quickly. As clear as the performance is, the quick tempos do not allow the cantabile nature of the first theme emerge, as it should with its evocation of the second song from the cycle Lieder eines fahrenden Gesellen, “Ging heut’ morgen übers Feld.” While it has some very effective moments, the absence of such connections to the innate vocality of the first movement makes the piece seem disconnected from the style associated with Mahler’s music.

With the second movement, though, Gergiev maintains his crisp tempos, but here it fits better into the style of the piece. The lyrical theme of the second section is, on the other hand, played with such a decided slowness that the sense of tempo sometimes escapes. Nevertheless, the playing is precise and clean, but sometimes more percussive sounding than occurs in other performances. In this movement, though, the dynamic contrasts are pronounced nicely and support the musical structure well. Within the interplay of dynamics and articulation, the orchestral colors represent the score well, with the brass prominent without overbalancing the strings.

Such sensitivity to the timbre is crucial to the third movement, which begins almost imperceptibly. The canon on the tune “Bruder Martin” is paced nicely, with the wood line supporting the contrapuntal texture nicely. With the second section, the portion which Mahler once characterized as suggesting Bohemian town musicians, the popular, or folk-like idiom is apparent without being exaggerated. Gergiev is also good to shade the tempos nicely, and with them the solo instruments. The solo trumpet is notable for the shading that occurs here, and the overall effect is a fine representation of the score. In the middle section, the one in which Mahler develops melodic ideas from “Die zwei blauen Eigen,” the final song of his cycle Lieder eines fahrenden Gesellen, offers a fine contrast to the other ideas in the movement. Yet the sound levels of the final portion of the movement fade too soon.

Such a dramatic change in dynamic level does offer a setup for the opening of the Finale, which begins with a fine sense of drama. While tempos are not problematic for this movement, the sound levels are sometimes overbalanced. The extremes of dynamic level sometimes result in a fast-and-loud or slow-and-quiet dialectic. What needs to emerge in this movement are more sustained textures in which tone colors, dynamic levels, and articulations combine to create the effects Mahler scored. As with the other movements, the playing is satisfying throughout, but the nuances betray over- and understatement. The kind of sustained effects which Gergiev brought to his recent recording of Shostakovich’s Seventh Symphony, for example, would work well here. The concluding in which the scalar theme that evokes for some Handel’s chorus “And he shall reign forever and ever,” as Stephen Johnson mentions in his liner notes, should emerge from the other ideas in the movement. Here, though, is seems disconnected from the larger structure. As much as the pacing of the concluding section is dramatic, the final two notes seem, perhaps, not sufficiently assertive.

Part of Gergiev’s cycle of Mahler’s symphonies with the London Symphony Orchestra, this recording has its merits, but it also raises questions about stylistic issues in performing this important early work by Mahler. The roles of tempo, thematic cohesion, and dynamic contrasts, and other elements are important to the effective execution of this work. As familiar as Mahler’s First Symphony may be to modern audiences, it remains a demanding score on the part of the interpreter. Again, as a live performance, this recording differs from some of the studio recordings, with exciting playing on the part of the London Symphony Orchestra.

James L. Zychowicz

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):