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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.
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.