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Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
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Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
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Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
06 Sep 2009
Mahler and Ligeti at the Proms?
On the surface, the theme of this Prom seemed to be Sci Fi movies at the Proms. Both Ligeti's Atmosphères and Richard Strauss's Also sprach Zarathustra became huge hits when Stanley Kubrick used them in 2001 : A Space Odyssey. So how did Mahler's *Kindertotenlieder* fit in ?
The Gustav Mahler Jugendorchester certainly aren’t Mahler specialists. The name was chosen by Claudio Abbado when he set up his network of interrelated orchestras which have changed the face of European music. Although none of the performers are aged over 26, it’s not a youth orchestra in the usual sense. These players are carefully hand picked from thousands of applicants, and many go on to play in major orchestras.
Their Schoenberg’s Five Orchestral Pieces was lively and crisp and they did the spectacular moments in Also sprach Zarathustra to great effect. But the real test of an orchestra is how they handle the more subtle moments, rather than the big flashy passages like that striking entree to Zarathustra, which everyone knows from TV ads even if they don’t know Kubrick. The GMJO are very accomplished but there is only so much a musician can do at 20, compared to what he or she might do at, say, 45. So this wasn’t a performance of great interpretative depth, but something to enjoy for its sheer beauty.
Ligeti’s Atmosphères is an abstract soundscape. What seems like huge washes of white noise are created by extremes of detail, “microtonal polyphony”. The music moves in swathes of sound, the strings giving way to a surge of brass, each part played with slight variation. It’s the blend that creates the “atmosphere”. Hence the otherworldy sound of percussion brushes played against the strings of the piano : it’s music going boldly where no man has gone before. No wonder Kubrick heard it as “music from another planet”. Jonathan Nott’s soft focus sometimes underwhelms in other repertoire, but it’s perfect for this work, which is one of his specialities.
How would Mahler’s Kindertotenlieder fare in such a program and with an audience geared up for big movie themes ? The songs are about the death of children, and Ruckert’s poems are so personal that it’s almost painful to read them exposed on the printed page. Yet it’s a mistake to assume that such tragedy should lead to hyperfervid, overly operatic performance. Goerne’s approach was psychologically astute. The father in the poems is so numbed, he can only articulate his pain in brief moments : most of his grieving is inwards. This isn’t a time for histrionics.
Goerne’s approach is also musically astute. Kindertoitenlieder evolves like a miniature symphony. Like most of Mahler’s music, it moves towards a resolution, beyond immediate struggle towards some kind of transcendence. Dark into light. So the final song “In diesem Wetter, in diesem Braus”, starts with a storm. Significantly the storm clears into music of great delicacy and clarity. The dead children have gone into a better place where they will be cared for, “as in their mother’s house”. Miss this, and you miss so much of Mahler’s aesthetic. So “going into another place” isn’t really so far away from the rarified vision of Ligeti’s Atmosphères after all.
This Prom is available online on demand until 11 September on www.bbc.co.uk/proms both in audio and TV rebroadcast.