Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
Gil Shohat, now 35 and Israeli’s top classical composer, was 15 when
in the ‘80s he saw Hanoch Levin’s The Child Dream on stage in his native Tel Aviv. Shohat, of course, knew Levin’s work well, for throughout early decades in the history of Israel he — its outstanding dramatist — had served somewhat as the conscience of a nation tormented defining itself within its pain-wrought beginnings.
Gil Shohat: The Child Dreams Libretto based on a play by Hanoch Levin
“I knew then that I would compose Dream, said Shohat in a post-performance interview in the Tel Aviv Opera House, where
the premiere of the opera had taken place on January 18. Shohat’s plans
were seconded by Israeli Opera general director Hanna Munitz, who had also
sensed the operatic potential of drama when she saw it on stage.
Touched by the deep despair of the story and the genuine poetry of the text,
Munitz commissioned Dream for her company. It is the first opera
composed on any Levin text. Point of departure for Levin was the 1977 film
Voyage of the Damned, the story of the St. Louis, the ship unable
to attain landing rights for its fleeing refugees during World War II. But
this, it must be stressed, is no more than raw material for what is now
True, the opera underscores the degree to which the Holocaust remains today
a defining experience for the Israeli consciousness, yet the local critic who
placed the new opera “among the most depressing and despair-radiating
operas of the repertoire” missed the point of the transformation of the
story through music achieved by Shohat and his director Omri Nizan. (Nizan, an
old hand at the Cameri Theater, helped Shohat with minor changes in the text
— nothing was added — and then served in the vastly more important
role as director of the production.)
For through music the child at the center of the drama becomes much more
than a single child and his story is far greater than the tale of one
individual example of injustice. The Child is now a young Everyman with hopes
for a better and more just world. That this world is closed to him — and
not just by the near-criminality of captain of the ship that might have brought
salvation — elevates Dream to the level of mythic
universality. The story is quickly told. The Mother hopes to escape with her
son on the ship. The Captain demands payment “in the flesh.” The
ship reaches a ghost-like island, but passengers are not allowed to disembark
by the despotic governor, the second evil figure in the story.
In one of the most moving moments in the score — 2 hours and 30
minutes with one intermission — a crippled child — mezzo Shira Raz
I’m a poet.
I write about you who come out of the fog
and return and disappear in it. I weep over your fate
and sketch it.
your faces approaching tell the tale of delusion;
but all human failure is stamped on the back of your
The Crippled Child speaks above and across the play for Levin himself who
sees little but frustration and failure in the attempted escape.
The final act — an apotheosis of sorts — breaks with the seeming
realism of the earlier three acts (and it was wise, therefore, to insert the
intermission at this point). Dozens of “dead” children suspended
above the stage whisper of their fate while the female nonet that opened the
opera sings again of their sorry situation.
There is a Straussian sadness about this conclusion; it its muted melancholy
it recalls the elder composer’s Metamorphosen, the
“mourning for Munich” that he wrote after the destruction of his
native city. It is deeply felt and moving music that might well become a
concert piece in its own right.
And as the many who visit the memorial to children victims of the Holocaust
in Jerusalem’s Yad Vashem experience not consolation but rather the hope
beyond hopelessness so essential in any confrontation with the vast inhumanity
of the 20th century, here too there is an elevation beyond meaningless
Child Dream is an ambitious work calling for a cast
of 20, all drawn from the roster of the resident company. Outstanding among
them were Larissa Tetuev as the Mother, a role she shared later with Ira
Bertman, Hila Baggio as the child and Noah Briger as the Captain.
In only his second season as IO music director, David Stern extracted
exemplary playing from the Rishon Le-Zion Orchestra, the company’s pit
band. Sets and costumes were effectively designed by Austrian-born Gottried
Helnwein. Lighting by Avi Yonah Bueno contributes to making this a colorful
show engaging to the eye.
Shohat has documented his superlative command of the composer’s craft
in an incredible long and diverse catalgue. In Dream, however, he
travels on no new turf, but concentrates rather on giving musical meaning to an
unusually demanding text.
Dream is written for reduced orchestra, and outstanding is the
manner in which Shohat has woven the piano into the ensemble to achieve unusual
effects. (The composer is a concretizing pianist as well.)
It is unavoidable that some find the opera with its focus on the death of
children depressing and even morbid. In so doing, they overlook the strong
element of empathy that Shohat’s music brings to Levin’s turgid
story. In the final analysis, Child Dream is an
affirmative work that deserves to be seen outside Israel.
The production celebrates the 35th anniversary of Israeli Opera; it further
marks the 10th anniversary of Hanoch Levin’s death and the centennial of
the founding of Tel Aviv.