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In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
11 Dec 2009
Emma Matthews in Monte Carlo
Emma Matthews is an English born soprano currently resident in Australia where she has sung with the state based opera companies as well as the national company Opera Australia where she is currently a soloist.
Matthews is mostly known for her already formidable coloratura technique. In her work with Opera Australia Matthews projects a big, secure voice in lyric and coloratura roles but also in less likely assignments including the title role in one Opera Australia’s finest achievements, Alban Berg’s Lulu, using that light, lyrical voice to revelatory effect.
This co-production between ABC Classics and Deutsche Grammophon will also be released internationally and coincides with Matthews launches her international career. The project is a luxurious one, instead of an Australian orchestra the Philharmonique de Monte-Carlo is employed and even a second singer (mezzo Catherine Carby) has been brought over to sing the ‘pertichio’ role in the Lucia di Lammermoor scene.
The disc opens with a restrained account of “Glitter and Be Gay” from Bernstein’s operetta-inspired Candide. Eschewing the histrionics that often negate the song’s effects Matthew’s equates the coloratura passages to the type of musical laughter familiar from Manon Lescauts’ laughing song in Auber’s opera or the best known example, Adele’s laughing song in Die Fledermaus. The result is immensely satisfying and encourages multiple hearings.
The folksy “Last Rose of Summer” from Flotow’s Martha reveals Matthews’s beautiful legato but the bulk of the disc is a 60 minute ‘potted’ history of the Bel Canto era before ending with a return to simple serenity. Instead of the celebrated mad-scene from Donizetti’s Lucia di Lammermoor comes the equally dramatic fountain scene is chosen which introduces Lucia (and subtly indicates her mental breakdown is already beginning). The featured mad scene is Ophelia’s scene and ballade from Thomas’s Hamlet. Given in full it the best demonstration of Matthews’s impressive technique as she incorporates the higher and more florid passages introduced by the singer Marie Carvalho and incorporated into the original vocal scores. Matthews then gives an even more elaborate account of the ‘Doll Song” from Les Contes d’Hoffmann and then just enough of an arrangement (the entire thing overstays its welcome even for coloratura fanciers) by Richard Bonynge of Proch’s Theme and Variations (presumably with his wife Joan Sutherland in mind) and which Matthews sings with the same power and agility as Sutherland.
The recital closes with two Australian compositions, and orchestration of a song by Calvin Bowman that has a folksy simplicity and even a beguiling Scotch rhythm in places. The Nightingale’s song from Richard Mill’s opera The Love of The Nightingale is sadly too brief an excerpt from an opera Matthews is so closely associated with. Sounding like a classical vocalise and orchestrated in a lush Ravel-ian manner it brings some beautiful playing from the orchestra. The conductor, Brad Cohen, has a personal interest in this 19th French operatic repertoire and the orchestra, as expected, are a world class band who respond to the familiar items, bringing some very Gallic and incisive playing to the scene from Gounod’s Roméo et Juliette. The recording is demonstration class, Matthews’s voice given an immediate presence with the strings, in particular in the Bowman item, sounding luscious.
Leonard Bernstein: Candide — Glitter and Be Gay
Leo Delibes: Lakme — Ou va la jeune Indoue (Bell Song)
Friedrich von Flotow: Martha — The Last Rose of Summer
Gaetano Donizetti: Lucia di Lammermoor — Ancor non giunse…Regnava nel silenzio…Quando rapito In estasi (with Catherine Carby mezzo-soprano)
Vincenzo Bellini: I Capuleti e i Montecchi — Eccomi in lieta vesta…Oh! quante volte
Charles Gounod: Roméo et Juliette — Air de la coupe: Dieu quel frisson
Amour, ranime mon courage
Ambroise Thomas: Hamlet — A vos jeux, mes amis
Partagez-vous mes fleurs… (scène de la folie d’ Ophelie)
Jaques Offenbach: Les Contes d’Hoffmann — Les oiseaux dans la charmille
Heinrich Proch (arr. Richard Bonynge): Deh! Torna, mio bene, Theme and Variations
Calvin Bowman: Now Touch the Air Softly
Richard Mills: The Love of the Nightingale — The Nightingale’s Song