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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
15 Sep 2009
Wigmore Hall Song Competition
‘It’s a personal choice’ / ‘Of course he won - he was the only one who sang songs’ / ‘I’ll be happy if anyone but the first one wins’ (he won) / ‘There’s only one possible choice - the third one’ (he came second)
Thus various Wigmore regulars on the outcome of the Song competition - but what can you expect? Cardiff is the same - ‘Outrageous! The Counter-tenor should have won’ / ‘She only won because she was the most polished’ / ‘The tenor ought to have won / and so on. Perhaps the first statement above is the most useful, since any judgment is going to be, and in a way it’s amazing that a jury so diverse can come to any sort of agreement at all. What was not in doubt, however, was that all of the finalists (and, indeed, many of those who did not make it that far) are very likely to have great careers ahead of them.
Marcus Farnsworth has a lovely, very light, sweet baritone voice, not unlike that of Simon Keenlyside, and his programme was both daring and reassuring - daring because he began not with a lollipop but with a very serious slice of Schubert, and reassuring because it had enough variety to please everyone. ‘Nachtstück’ is the kind of thing with which you might expect Goerne to open a recital, so Marcus did well to produce such a lovely, flowing legato at ‘Du heil’ge Nacht.’ Strauss’ ‘Gefunden’ was almost as daring, showcasing the singer’s reserves of power at the end, so it was a welcome relief that he followed it with Loewe’s ‘Hinkende Jamben,’ which got some laughs from the audience. He was perhaps at his best in the English group, showing his tenorial top notes in Butterworth’s ‘Think no more, lad’ and a smooth legato line in Britten’s arrangement of ‘The last rose of summer.’ He was eloquently accompanied by the very confident, extremely sympathetic Elizabeth Burgess, whose playing I have previously enjoyed in Oxford. Marcus won the First Prize.
The soprano Erin Morley’s programme did not appeal to me very much - it felt like too much Russian and just a nod to the great Lieder composers (no Schubert) - but then that’s a very personal remark! There’s no doubt that she has a lovely voice, very bright, forward and well focused, perhaps at this time more suited to the operatic stage than the recital platform. Rossini’s ‘La fioraia fiorentina’ showed her at her confident best, and Schumann’s ‘Liebeslied’ gave a hint of how she might develop as a recitalist. She was placed third in the final.
For me, Benedict Nelson was the most promising of the finalists, and he also had the best accompanist I heard in Gary Matthewman. Of course, one is influenced by choice of programme, and theirs seemed to me to show an excellent balance of styles and moods. At the moment, Benedict’s French is a little heavy to really catch the atmosphere of Duparc’s ‘La vie antérieure’ but his Mahler and Schumann suggested a maturity beyond that expected of someone who is only 26. ‘Die zwei blauen Augen’ was a very ambitious choice, but he pulled it off well, showing a fine legato line at ‘Auf der Strasse steht ein Lindenbaum.’ Schumann’s ‘Die alten, bösen Lieder’ needed a little more colour and variety in the tone, but Gary’s nachspiel was finely done. Benedict came second in the final.
Sidney Outlaw has a real personality, and was probably the best communicator of the four. He was the audience favourite, but I felt he let himself down with some of his choices - ‘Erlkönig’ is simply too well known and it’s too easy to compare its performance to that of just about every great baritone, and the ‘American’ group felt like too much conforming to type. Kudos to him, though, for being the only one to actually sing something written in this millennium. I felt his baritone had not quite got the measure of the Fauré or the Duparc, but his Brahms showed much promise, especially in the darker parts of ‘Von ewiger Liebe.’ Sidney was placed fourth.
This was another testament to the power and position of the Wigmore Hall: an audience packed not only with the great and the good and the grey-haired, but with the volubly enthusiastic young, enjoyed four mini-recitals of exceptional promise, by singers chosen out of a vast pool of talent containing at least as many again who will surely go on to great things - I would single out the baritone Gerard Collett, the soprano Erica Eloff and the pianist James Bailleu, but I am sure that those who were present for all the stages will have their equally worthy choices. The Pianists’ prize was won by James Bailleu, and he and Gerard Collett won the Jean Meikle Prize for a Duo.