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With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.