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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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.