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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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.