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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.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
25 Oct 2009
Baldassare Galuppi: Jahel
Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls
at the Incurabili, one of Venice’s four competing Ospedali or
musical orphanages, admired both their excellent performing standard
(“indeed all were such as would have merited and received great applause
in the first operas of Europe”), and the quality of the music that the
aging maestro was still able to write for them: “ it is generally allowed
here that his last operas, and his last compositions for the church, abound
with more spirit, taste, and fancy, than those of any other period of his
Had Burney visited Venice and the Incurabili short earlier, on May 24, he
might have attended the premiere of Jahel, a Galuppi oratorio recently
unearthed at the Zurich Central Library in Switzerland — probably a
remake of the score already performed at the Ospedale dei Mendicanti in 1747
and 1748. By 18th-century standards, 23 years was quite a long time-span in the
change of musical taste. Perhaps that’s why in 1772 Galuppi reverted to
the same subject on a different libretto and with a larger cast of characters
under the title Debbora prophetissa, but the core story remained the
same, based on chapters 4-5 of Judges in the version provided by the
Latin Vulgate Bible.
Actually, despite the triumphs gathered by his operas in London, Saint
Petersburg and Vienna, nowhere did Galuppi enjoy more popular acclaim than as a
composer of Latin oratorios on Bible subjects for the Ospedali of his
native Venice. It is reported that his Tres pueri hebraei in captivitate
Babylonis — premiered in 1744 at the Mendicanti — scored some
hundred (paying) performances, a feat comparable to those of modern musical
theater. Unfortunately, the 1770 version of Jahel is all we are left
with in this genre, since two more oratorios surviving in musical sources
(Adamo caduto of 1747) and Il sacrificio di Jephtha of 1749)
are in Italian.
At the outset of the eighteenth century, the language of oratorios at the
Incurabili became exclusively Latin, to remain so under the musical
directorship of Porpora, Jommelli, Cocchi, Ciampi, and Baldassare Galuppi. A
similar trend affected more or less the remaining three Ospedali.
Although the librettists’ choice was for a simplified variety of Latin,
aping at the stock imagery from contemporary cantata and opera seria
texts, one wonders whether the traditional status of Venice as a target for
multinational operagoers could account for such an unexpected association
between Latin and bel canto on a scale even larger than in Catholic
Hearing those notes again within the Scuola Grande di San Rocco — the
‘Sistine Chapel of Venice’ studded with masterpieces by Tintoretto,
Titian and Tiepolo — was well worth a trip. As to the actual merit of the
performance, one might regret that a few arias were pruned of their da capo, or
that a harpsichord was substituted to the organ stipulated in the continuo
section. Nevertheless, the sparse period band Orchestra Barocca di Bologna,
some ten instrumentalists led by Paolo Faldi, sounded well attuned to style
requirements, with rhythmic stamina and accurate tuning generally deserving
Title page of Jahel [Zentralbibliothek Zürich]
Not all the six singing ladies would have deserved the same applause as
their early counterparts, either out of lacking experience or worn-out voices
(the latter was probably the case for Candace Smith in the role of Sisara). Yet
both sopranos Pamela Lucciarini in the title role and Silvia Vajente (Debbora)
delivered terrific amounts of passagework, competing on a tight edge as to
projection and clarion notes. In the end, Vajente apparently won by a neck
thanks to a clearer diction and to the sensuous rendering of her aria
“Rosa et lilio”, accompanied by a pair of obbligato mandolins. As
Barac, mezzo Elena Biscuola unsheathed lovely dark color, accomplished
technique and dramatic panache. Her climactic duet with Vajente (“Fugato
jam maerore”, just before the final ensemble) was also praiseworthy.
Patrizia Vaccari, a coloratura soprano of considerable experience, delivered
a defiant rendering of “Non horret cor forte”, much in the vein of
Constanze’s “Martern aller Arten”. The taxing
‘storm’ aria for Haber, “Pugnent nubes fulminando”,
emphasized the good natural qualities of young soprano Laura Antonaz, such as
sterling color and easiness in ascending to the highest pitches. Her coloratura
technique needs further refinement, though.