Recently in Reviews
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
13 Oct 2009
‘10 for 10’ recital gets 10 out of 10 for performance and audience
The Wigmore Hall never stands still: not content with having increased its audience by 300% over the past year, it now seeks both to reward its loyal patrons for their support in acquiring the Lease, and to bring in new audience members, with an innovative series of ten concerts where all the seats are priced at £10.
The artists range from the stellar to the emergent, and if Saturday night’s recital is anything to go by, the standard is as high as the ‘usual’ Wigmore evening, but with the added excitement of a much younger audience demographic. Not that I object to an audience composed mainly of oldsters (that is, the 50-100s) such as myself, but it’s good to see a majority of the audience under 40 enjoying a finely balanced, deeply serious evening.
John Mark Ainsley has pretty much made a career out of being surprising: after all, this is an English tenor who never sounds ‘English’ in that dreaded Oxbridge sense; an elegant presence who never comes across as merely that; a Lieder specialist who hardly ever follows conventional ways with a song; and an opera singer who always provides a new and different perspective on a role. I have to admit that my heart sank on seeing the Heine ‘Schwanengesang’ settings as the central works, and grumbled that I would much prefer more Schumann (‘Dichterliebe’ for preference) since Ainsley is an especially sensitive interpreter of that composer, and anyway lyric tenors ought to leave the heavy stuff alone
and so on. However, I was wrong.
Howsoever you order them, the Heine settings are a demanding test for any singer, and Ainsley sang them with his customary subtlety and style, but was also able to produce impressive fortes in ‘Der Doppelgänger’ and ‘Der Atlas,’ the exposed, raw G at bar 34 in the former not so much a howl of outrage as an impassioned plea. The eerie calm created by Malcolm Martineau’s playing in the first part of the song was echoed by Ainsley’s quite chilling phrasing of ‘auf dem selben Platz,’ and his superb diction at ‘was äffst du nach mein Liebesleid’ made the song’s atmosphere all the more hectic. ‘Am Meer’ and ‘Ihr Bild’ provided more expected pleasures with beautiful tone and naturally easy legato line, although there was no self-indulgence with either, the tone’s sweetness readily discarded for a bitter one in ‘dass ich dich verloren hab.’
The Schumann group was a model of Lieder style, ‘Mit Myrthen und Rosen’ sung without any archness or sentimentality, the line ‘wie ein Lavastrom, der den Aetna entquillt’ proving that it’s possible for a lyric tenor voice to create a dramatically powerful statement, and the final ‘flüstern mit Wehmut und Liebeshauch’ caressed with aching tenderness. Liszt’s settings of Heine are of course much less familiar than those of Schumann, and Ainsley and Martineau brought out their melodic invention and rich harmonies, especially in ‘Du bist wie eine Blume,’ although the Schumann version sung as an encore reminded us of that composer’s greater sensitivity to Heine’s poetry.
The second half of the concert was all French music, Poulenc’s ‘Tel jour telle nuit’ revealing Ainsley’s deep understanding of the composer’s dictum that ‘calmness alone can give intensity to a love poem’ most finely shown in ‘Nous avons fait la nuit.’ Of Gounod’s ‘Cinq Mélodies,’ the highlight was certainly ‘Au rossignol,’ mesmerizingly played and sung with the kind of rapt contemplation and perfect diction which epitomize this singer’s art.