09 Nov 2009
Philip Langridge at Wigmore Hall
As an interpreter of Benjamin Britten, Philip Langridge has long been esteemed as the natural successor to Peter Pears;
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 good way.
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.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
As an interpreter of Benjamin Britten, Philip Langridge has long been esteemed as the natural successor to Peter Pears;
his long-standing commitment to the work of Harrison Birtwistle has served the composer admirably; and as a sensitive, skilful communicator of the nuances of narrative through music and words, Langridge’s performances of Vaughan Williams and Schubert are justly revered. This carefully chosen programme clearly had great personal meaning to Langridge; and the Wigmore Hall was a fitting venue to celebrate both his 70th birthday and the achievements and joy of a life in music.
Framing the recital with Schubert — excerpts from Die schöne Müllerin and Winterreise — was a brave decision; as ever, Langridge’s diction was superb, but while he embraced the German language with ease and assurance, his voice no longer has the depth of tone and secure focus of old. Lyricism was exchanged for emotional intensity: the dynamics fluctuated rather wildly, as the tenor frequently resorted to a wispy head voice in the upper registers, an overly dramatic effect perhaps for these intimate songs. A few cracked high notes revealed the strain but, although the voice perhaps now lacks the bright flexibility of youth, there was no doubting Langridge’s emotional and dramatic engagement with the songs’ mournful narrative. Most successful were the sentimental, more restrained songs: in ‘Danksagung an den Bach’ (‘Thanksgiving to the Brook’) pianist David Owen Norris’s delicate but assertive rippling motif literally conjured the natural world and metaphorically tormented the young miller with its ambiguous murmurings. Owen Norris was a thoughtful, responsive partner throughout this recital, ever alert to subtle nuances, enhancing — through dynamic gradations, rubati and ever-changing textures and articulation — the melodic narrative. Occasionally the dynamic contrasts may have been a little too sudden or exaggerated, the sforzandi a touch strident, but the accompaniment matched the drama of Langridge’s delivery. Fittingly, a haunting delivery of ‘Der Leiermann’ brought the recital to a close; here, the subtle variations of tempi produced a tension between the rigidity of the piano’s droning, bare fifths, the coiling right-hand and the plaintive melancholy of the voice.
Vaughan Williams’ On Wenlock Edge found Langridge in more comfortable and relaxed mode. This was a bracing interpretation perfectly suited to the folksong derivation and ambience of Vaughan Williams’ striking Housman settings. Tempi were perfectly judged. The brisk eponymous opening song was propelled by the string tremolos and dynamic, rocking piano motif which launches the cycle, and this momentum was sustained in ‘From far, from eve and morning’. Alternations of instrumentation — first voice and piano, now strings, then full ensemble — introduced a note of poignancy into the third song, ‘Is my team ploughing?’, most apt for a song that reflects with gentle nostalgia on loss and love. The members of the Doric Quartet enjoyed the narrative role played by the instrumental lines, the elongated triplets of the inner strings enhancing the mood of yearning tinged with resignation. ‘Bredon Hill’ is the emotional centre of the work: with crystal clear intonation, the strings’ slowly rocking, divisi chords created a remarkable, icy serenity, capturing the stillness and transparency of the bleached landscape as piano bells echoed through the emptiness. The ensemble gradually built up to a frightening intensity and Langridge, bitterly defying the tolling bells, spat out the final words of the closing verse, ‘I hear you, I will come’. This was superb ensemble playing, as Owen Norris and the Doric Quartet magnificently supported and complemented Langridge’s varied palette of colours.
Langridge has a long association with Birtwistle’s music: in 1986 he created the title role the opera The Mask of Orpheus and also starred in the 2008 premiere of Minotaur. ‘From Vanitas’ was specially commissioned by the Wigmore Hall; a miniature for voice and piano, Birtwistle’s sparse, delicately crafted score follows the long, drawn-out lines and accumulating images of the text by David Harsent, his long-term librettist. Langridge’s sensitivity to the sinuous, unfolding poetic lines was superlative; voice and piano intricately interweave, as a rocking figure played by the piano grows ever more urgent, reaching a tempestuous climax before sinking to a deathly silence: ‘the window a mirror perhaps, the room a wilderness.’
Britten’s Who are these children? demonstrated why Langridge is considered a master of English song. The riddling rhymes of William Soutar’s poems, with their Scots dialect and angular rhythms, are not inherently ‘musical’ but Langridge brought melody and coherence to these lines. He doesn’t project the text at the expense of the musical line — there are no ugly exaggerations or distracting mannerisms; rather, a relaxed unfolding in which musical and dramatic narratives are truly one.
The deeply appreciative audience at the Wigmore Hall were not likely to let Langridge go without some ‘extras’. The first encore was a brief mock-tragedy, delivered with mischievous insouciance; this was followed by a boisterous rendering of a ditty from G&S’s ‘Utopia Limited’, oozing ease and charm and demonstrating why Langridge is such a natural on the operatic stage. Both performers clearly enjoyed themselves. This concert may have celebrated the passing years, but Langridge possesses the energy and spirit of a young man, and such musicianship and generosity was justly cherished by the warm, admiring audience.
Schubert — Die schöne Müllerin (selection)
Vaughan Williams — On Wenlock Edge
Birtwistle — From Vanitas (world premiere)
Britten — Who are these Children?
Schubert — Winterreise (selection)