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Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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
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.
08 Mar 2010
Brilliant Schubert programme: Matthias Goerne, Wigmore Hall
This second of two recitals of Schubert songs by Matthias Goerne and Helmut Deutsch at the Wigmore Hall, London was superb, the programme created with exceptional intelligence and insight into the inner dynamics of Schubert’s music.
Starting a recital with An die untergehende Sonne was daring. Immediately we’re thrown into darkness and the murky depths of inner consciousness. “Immer tiefer, immer leiser, immer ernster”. The text may be peaceful, but the dizzying descent in the piano part hints at something more unsettling. Without a break, Goerne launched into Der Tod und das Mädchen. The tolling prelude makes it clear this sleep is death. The poet is Matthias Claudius, but the concept goes right back to the Middle Ages, It permeates Schubert’s aesthetic.
The theme recurs in Die Rose and Viola. Note the contrast between the two poems and Schubert’s settings. Die Rose is a poem by Freidrich von Schlegel. It’s beautifully, concisely written. The first stanza in particular scans so tightly, it’s like music: no wonder Schubert was drawn to it. It’s such a good poem, it’s a joy to read and savour word by word. Schlegel covers a wide range of images in a few brief lines. Goerne respects each word, colouring and shading with nuance, so the rose comes alive in sound, before it slowly fades away.
In contrast Viola, is to a poem by Schubert’s rakish friend Franz von Schober. “Schneeglöcklein” runs the refrain. Six verses down the violet awakes. Seven stanzas later she flees “von der tiefsten Angst verfleischt”. The violet’s come out too soon and is caught by the frost. Silver bells, bridegrooms, flowers anthropomorphized so corny that even Disney might cringe. Even Schubert struggles to make sense of the endless verses. Both Schubert and von Schober would have known Goethe’s poem Das Vielchen, and probably Mozart’s setting of it. Strophic ballads don’t have to be maudlin. Goerne makes the song believable by singing without excess ornament. After Die Rose, it’s hard to take Viola. It’s a measure of Goerne’s skill that he can pull it off.
Another very intelligent pairing : Auf dem Wasser zu Singen and Der Zwerg. Both songs describe death on the water, but in sharp contrast. In the former, Schubert’s melody dances delicately, so you can almost see the “schimmernden Wellen” as the boat gently glides on the lake. Don’t be lulled. The little boat is a metaphor for the passing of time. The poem, by Friedrich Graf zu Stollberg-Stolberg ( double barreled prince) is altogether more sophisticated than the shock horror gothic in Der Zwerg which ends in suicide-murder.
Matthäus von Collin’s poem isn’t bad, though. Rather than being a subtle mood piece it’s a saga in miniature. The dwarf and the queen have a long, complex history. She willingly accepts being murdered, even absolving the killer. It’s pretty kinky. Schubert doesn’t exaggerate the lurid colours, though his setting is dramatic. This song is always a show stopper, it’s so good. Again, Goerne doesn’t give in to pathos, his singing giving the dwarf dignity and respect. That last line, “An keiner Küste” is so chillingly sung that Goerne hints that the real horror is yet to come. The dwarf might not escape in death, but be cursed to sail forever on the lake, trapped in time.
But as usual, Goethe gets the last word. Pairing An die Entfernte with Ganymed brings out another dynamic in this extremely well planned programme. The first ends with the plaintive call “O komm, Geliebete, mir zurück”, and the second contains the soaring phrase “Ich komme, ich komme ! Wohin? Ach, wohin?” Schubert emphasizes the significance of this phrase by setting it in high relief, pauses on either side to accentuate the arc in the line. And then, “hinab strebt’s ‘s hinauf!,” Goerne’s voice lifts upwards, impressively. He catches the impatience in the song - “Mir! Mir!” and “Aufwärts!”. The stillness that prevailed before is now blown away by urgency. The concert began with the downward spiral of the piano prelude of An die untergehende Sonne, but ended with energetic animation, thrusting upwards.