Recently in Reviews
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
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.
10 Dec 2009
Der Rosenkavalier - Royal Opera House, London
In dark, damp December we need good cheer, and Der Rosenkavalier at the Royal Opera House, delivers colour and spectacle. in abundance. It's a revival of the John Schlesinger production from 1884, and somewhat antiquated, but that's no disadvantage, for the passage of time haunts Der Rosenkavalier.
The Marschallin knows she’ll never be young again, and accedes to a new generation with whom the future lies. She was herself once like Sophie, forced into marriage by social convention. Strauss depicts a Vienna that by 1911 was about to be swept away. Even Octavian and Sophie have long gone, like “Schnee vom vergangenen Jahr.” Obviously in this revival, the costumes (Maria Björnsen) are new-made, and the sets (William Dudley) have been refreshed, but the air of musty decay is deliberate, because it’s an essential part of the narrative. This gorgeously gilded world is built on false values. By supporting Sophie and Octavian, the Marschallin is placing her faith in love.
There are those who think operas should be museum pieces, preserved forever at the moment of birth. In real life, though, every revival is a new work because the people involved are coming new to it. Even if they’ve sung the roles many times before, the specific demands of performance create a new dynamic. Directing revivals isn’t easy, because everyone has to be inspired all over again.
Sophie Koch as Octavian
Soile Isokoski is one of the greatest Strauss singers of our times. Her experience, and reflective, emotional depth could have made this an exceptionally well-rounded Marschallin. Isokoski’s voice has a smoky, wistful timbre that captures the Marschallin’s true personality. For whatever reason, in this production, Isokoski’s subtle approach seemed sidelined. Because so much is going on in the second act, it’s easy to forget how the Marschallin permeates the opera even when she’s not present. She was kleine Resi, just as Sophie is now. What happens in Faninal’s mansion may well have happened in her father’s home. She may not appear again until the end, but it’s “her” story, reprised anew.
Peter Rose as Baron Ochs and Lucy Crowe as Sophie
the production is so high on visual values, the balance shifts to Octavian, who is, after all the Rosenkavalier, the personification of youth and the future. Sophie Koch is good, even her slight weaknesses play well into the character’s immaturity. More gusto in the “dialect” passages would have been welcome, connecting to the social satire in the plot. Who knows what Octavian might become when he grows older? Lucy Crowe’s Sophie is well acted, bringing out the spoilt brat aspects of the role. Octavian might have a hard time. Strauss had Pauline, so he knew very well that in real life marriages don’t follow the “rules” of society.
There’s a strong element of subversion in this opera, often overlooked in the frills and frou-frou. Strauss sends up the social order, parodying Viennese waltzes, depicting the baseness of aristocratic rule. Peter Rose’s Baron Ochs is suitably brutish. Even a nobleman as debased as he would have been marginally literate, but von Hoffmansthal points out his illiteracy clearly, so it can’t be missed. Strauss builds similar crudity into the music, which Rose might have made more grotesque, but it wouldn’t have worked against Kiril Petrenko’s civil and well behaved conducting. It was good, too, to hear two other Grandees of British opera, Thomas Allen and Graham Clark, as Faninal and Valzacchi.
Thomas Allen as Faninal, Lucy Crowe as Sophie and Sophie Koch as Octavian
This revival (directed by Andrew Sinclair) won’t go down as one of the great moments in performance history, because it lacks the fire and pain that lies in the score. Nonetheless, it’s still immeasurably better value than the usual level of “festive fare” on offer at this time of the year. Even if it’s muted, it’s still a decent artistic experience.