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On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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