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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
28 Mar 2010
Angels in America, Eötvös at the Barbican for the BBC
Angels in America, Peter Eötvös’s opera based on the Tony Kushner plays, received its London premiere. This was very high profile. David Robertson conducted the BBC Symphony Orchestra in a performance that will be broadcast internationally, online on www.bbc.co.uk/radio3.
Angels in America depicts the first phase of the AIDS pandemic, in the very early 1980’s. Back then, the disease wasn’t even identified. Healthy young men were dying gruesome deaths from “Karposi’s sarcoma”, a cancer of the very old. Then apparently straight people succumbed, even bullying homophobes. It’s hard to appreciate how bad those times were, if you didn’t live through them. Yet AIDS was a turning point in society, because it exposed hypocrisy and prejudice.
Thirty years on, much has changed. In the west, people don’t die of AIDS as long as they can afford healthcare and medication. Now it’s entrenched in the Third World, particularly in Africa. We cannot be complacent.
Eötvös compresses Kushner’s seven hour saga into 2 1/2 hours.In the first part, vignettes of people experiencing death in their own way. Prior Walter (David Adam Moore) is a gay man dumped by his frightened lover. (Scott Scully). Roy Cohn (Kelly Anderson), the bully who thinks he can’t be touched, and Joe Pitt (Omar Ebrahim), the hapless married Mormon, who has to face the contradiction in his life. This concentrates dramatic focus on human relationships, and is very moving. Kushner doubled the parts, so the drama could extend beyond the immediate victims making it relevant for all society.
All roles, except the main protagonist Prior Walter, are doubled in the opera, too, Anderson and Ebrahim sing Ghosts of Plagues past, but Brian Asawa stands out. He sings no major role but a variety of subsidiaries, yet brings such assertiveness to them that they register well. His bright countertenor, these days mellowing lower in the range, extends Kushner’s ambiguity into the music.
Julia Migenes was impressive, too, as Harper Pitt, (male name, female role), Joe’s drug-ravaged wife who intuits his true nature and makes him confront his identity. She’s also Ethel Rosenberg, Roy’s nemesis and Angel Antartica. These are pivotal roles, which Migenes carries off with conviction. Janice Hall is less well served by the opera, her roles bordering on shallow stereotype.
Eötvös’s music illustrates the text nicely. Marimbas and electronics to create weird, surreal sounds, percussion to mark tension, lovely cello and violin melodies to enhance moments of individual reverie. As an extension of the play, the music is usefully mood-enhancing, so in that sense it works. He works following the text as it unfolds, which perhaps accounts for the episodic, reactive nature of the music. This works well in the first part, where the opera is spurred on by the dramatic momentum of Kushner’s vision.
In the second part, Kushner’s venturing into much more abstract territory, depicting Heaven and life after death. In the opera, the narrative isn’t coherent. Life (and the afterlife) isn’t necessarily coherent, so in a sense this unintelligibility is valid. But because music is abstract, this would have been an opportunity for Eötvös to write something distinctive. Opera is much more than film music. It’s more than illustrating text. It can reinforce the narrative with another dimension of original commentary, for opera is as much a composer’s response to a play than just the play itself.
I enjoyed this concert staging (directed by David Gately) because it showed how the simple resources of a concert staging can have a huge impact, done as thoughtfully as this. The lighting effects were superb, evoking huge vistas in the imagination. I “saw” the stars in the heavens and the lights of a night time city.
Ultimately, Angels in America works on stage because the subject is so powerful. It packs such an emotional punch that it would be hard not to be moved by the human drama in the first part. A lot of choices had to be made when Eötvös and his librettist reduced Kushner’s seven hour saga. That’s all the more reason why decisions had to be taken for maximum dramatic and musical effect. As an opera, Angels in America might have served the subject better had it been less dependent on replicating the play, and taken a more original vision.