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The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
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.
15 Nov 2009
Die Rheinnixen by New Sussex Opera
London has long been spoiled in the operatic rarity department, thanks to companies like Opera Rara, Chelsea Opera Group and University College Opera populating various areas of the Venn diagram that is obscure repertoire.
so, there remain gaps that even these pioneers fail to reach — at which
point, enter New Sussex Opera, in the first of what I hope will be a regular
series of visits to the capital.
It is not widely known that Offenbach ever ventured into German grand opera,
though a recording of Die Rheinnixen finally became available in 2005
thanks to the Orchestre de Montpelier (the disc was reviewed on this site).
Though Rhine Fairies are most familiar in operatic terms because of Wagner, an
audience at Offenbach’s opera would be forgiven for not realising there
was any common ground. Offenbach’s Rhine Fairies are a hybrid of a number
of different myths, from the Lorelei of popular legend to the jilted
maiden-spirits of Giselle.
The English rendition of the libretto has its clumsy moments, and although
some (such as switching between ‘thee’ and ‘you’ for
the sake of a rhyme) can be put down to the translator, tenor Neil Jenkins, the
majority of the unintentional humour is pretty inevitable. Cynics might say
that singing in a foreign language covers a multitude of sins — and this
is one of those operas where performance in translation serves to remove the
only layer of disguise from the sheer ludicrousness of the plot. We have an
amnesiac hero (thanks to a war-wound) who is shocked into recovering his senses
on the spot, long-lost family relationships being revealed at every turn, and
supernatural forces which overshadow the lives of the central characters. At
the centre of it all is a saintly heroine so fragile that singing too
strenuously almost kills her — an archetype which Offenbach took one step
further in Hoffmann (and another metaphor for the dangerous power of female
sexuality). That’s not the only thing which almost happens — a
devastating Wagnerian ending is narrowly averted when, as the principal
characters prepare to evade enemy capture by blowing up a strategically-placed
ammunition dump with themselves in it, the Rhine Fairies lure the baddies over
a precipice to their death and the goodies all breathe a sigh of relief and
live happily ever after. The opera predates Götterdämmerung by more than a
decade, but it’s difficult not to make the comparison.
A more than decent cast was assembled for the occasion: as the heroine,
Armgard, Kate Valentine struck the balance of youth and maturity with a capable
and sweet-edged lyric soprano and a firm and centred stage presence. As Franz,
David Curry, made an ardent lover, though was occasionally a little pallid and
strained in the top register, with a tendency to oversing. The more memorable
performances were in the older roles, with Anne-Marie Owens supplying a
dramatic centre in the pivotal role of Hedwig, Armgard’s mother whose
past youthful exploits with the now enemy, Conrad von Wenckheim, bring about
almost all of the plot’s developments. Quentin Hayes was a strong and
masculine Conrad, and Daniel Grice was sympathetic in the role of Gottfried
(here, in translation, Godfrey) — the true friend who never quite manages
to get the girl.
The chorus sang idiomatically, and the smaller roles were taken more than
ably by members of the amateur company. Conductor Nicholas Jenkins drew a clean
and poised performance from the orchestra, and the score has plenty to
recommend it. Offenbach inventively evokes a Germanic sound-world —
Franz’s ethereal entrance-aria almost seems to prefigure the way Mahler
used some of the Des Knaben Wunderhorn tunes in his early symphonies.
The imagination in the rest of the score should not be underestimated, and
would no doubt be easier to appreciate if Hoffmann had not remained so
firmly in the repertoire while Die Rheinnixen was as good as lost for
over a century. The composer reused so much of Rheinnixen in his later
work that listening to it can be quite disorientating. It takes an open mind to
think of the ‘Barcarolle’, and its introduction, were originally
intended to depict not the hypnotic stasis of Venetian canals but the waters of
a river which — thanks again to Wagner — most opera-lovers have
come to associate with primeval E flat chords. The Rhine-Fairies themselves
have the most obvious leitmotiv of the piece, a rising and falling
chromatic triplet figure, first introduced in Armgard’s Act 1 aria.
New Sussex Opera has expressed a hope that some of its future productions
— which, if an audience questionnaire included in the programme is
anything to go by, might include Wagner’s Die Feen,
Chabrier’s L’etoile and Gounod’s Mireille
— might bring the company back to London. On this evidence, let’s
Ruth Elleson © 2009