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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
06 Oct 2009
Imogen Cooper's Birthday at the Wigmore Hall
This wasn't an ordinary concert but something very special. The Wigmore Hall was honouring Imogen Cooper on her 60th birthday. She is greatly loved here, both as soloist and as partner in song recitals. The atmosphere was electric. The house was packed, with many famous pianists and singers in the audience. It was a historic occasion, but it felt like a party among friends.
Imogen Cooper is a superlative artist, so it might seem unfair to comment on her appearance, but she looked truly radiant, her face lit up with heartfelt happiness. Few deserve a tribute like this more than she, for she’s formidably dedicated. She could easily have chosen a programme to showcase her skills as soloist, with a special gift for Schubert, Schumann, and Mendelssohn. Instead, she chose to highlight others with whom she’s worked with. “I didn’t feel like working too hard”, she joked, in typical self effacing manner.
Imogen Cooper was a child prodigy sent to Germany, France and Austria, where she developed her formidable technique. Being isolated, she turned to Romantic poetry and song. Her affinity for Lieder was formed at an early age and is highly intuitive. Wolfgang Holzmair used to say he couldn’t imagine working with a pianist who didn’t instinctively live the texts as well as the music. Then he met Cooper and the rest is history. Theirs is one of the most enduring partnerships in the Lieder world.
It would be almost impossible to imagine an Imogen Cooper tribute without involving Holzmair in some way.Together, they’ve pioneered the songs of another great Lieder relationship, Robert and Clara Schumann and have mnade a notable recording. The two sets of songs by Robert Schumann chosen here date from 1840, the year Robert and Clara were finally able to marry, which inspired an explosion of song. Lieder aus dem Schenkenbuch Im Divan I and II (op 26 nos 5 and 6) are droll songs about getting drunk and louche, performed with folksy humour. In Venezianisches Lied I and II *(op 25 nos. 17 and 18), Cooper’s playing evoked the gentle rocking of oars steadily pacing through lagoons, as Holzmair sings of gondoliers and serenades on moonlit balconies. Clara’s songs *O Lust, O Lust *op 23 no 6) and *Die stille Lotosblume (op 13 no 6) have less obvious character, surprisingly as Clara was the first great female pianist to have an international career. Nonetheless, Holzmair and Cooper presented her songs with conviction.
As a treat, suitable for the party atmosphere, Holzmair and Cooper did a playful encore - a song from an operetta of the 1930’s by Robert Stolz. It’s a joyful ditty about dancing and happiness. Stolz was a lavishly lucky man who made and lost and remade several fortunes. At the age of 60, bald, broke and exiled, he was arrested in Paris when the Germans occupied. A few weeks before, he’d met a beautiful 19 year old heiress, who promptly sprung him from prison and married him. She still lives in Vienna, keeping his flame. Another reason to celebrate !
Imogen Cooper [Photo by Benjamin Ealovega courtesy Askonas Holt]
Cooper’s partnership with Mark Padmore is more recent. Holzmair and Padmore sang Mendelssohn duets for tenor and baritone (op 52, nos 1,2 amnd 3) followed by
Wasserfärht (op 50 no 4), where the voices bob up and down, like waves on the open sea while the piano melody surges forth like the ship in the poem. Padmore followed the set with four songs from Schubert. I’m very fond of Padmore’s work in baroque repertoire, but in Lieder he’s rather understated, though on an evening as genial as this it didn’t matter. Cooper provided plenty of vigour and personality. In *Die Sterne *(D939) she played the twinkling “starlight” motifs vividly, and the song came to life.
Imogen Cooper and Sophie Wieder-Atherton played a group of Janáček and Schumann pieces for piano and cello. The combination brought out the folk tunes both used, but in very different ways. Most of these pieces favoured the cello, so Wieder-Atherton took the lead, Cooper provided sensitive support.
Getting together a group of musicans like this was a wonderful opportunity to present repertoire normally beyond the scope of a song or conventional piano recital. This was a rare chance to hear Schubert’s Auf dem Strom (D 943). Voice, piano and cello weave together in counterpoise. Imogen Cooper and Paul Lewis then played the four hand Fantasy in F minor (D940). Both works arevery late Schubert, both performed in the composer’s presence. Schubertiades were intimate, friendly affairs, where people got together to enjoy good music in a convivila mood : perfect for a celebration like this.
Appropriately the encore brought everyone together. It was Brahm’s Liebesliederwalzer no 3,. “I wonder they we thought of that?”, quipped Cooper with a cheerful smile. Then Holzmair and Padmore began to sing. “O die Frauen ! O die frauen ! wie sie Wonne tauen. Wäre lang ein Mönch geworden, wäre nicht die Frauen !” (Women are bliss, if not for them, we’d be monks)
Mendelssohn : Ich wollt’, meine Liebe ergösse sich, Abschiedslied der Zugvögel, Gruß, Wasserfärht
Schubert : An die Laute, Abendstern, Daß sie hier gewesen, Die Sterne
Clara Schumann : O Lust, O Lust, Die stille Lotosblume
Robert Schumann : Lieder aus dem Schenkenbuch im Divan i and II, Venezianische Lieder I and II
Janáček : Pohádka no 1, 2 and 3
Robert Schumann : Stücke im Volkston 2 and 3
Schubert : Auf dem Strom, Fantasy in F minor for piano duet