Recently in Reviews
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.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
05 Mar 2010
Matthias Goerne at Wigmore Hall, London
In this, the first of two recitals with pianist Helmut Deutsch, baritone Matthias Goerne continued his very personal journey through the landscape of Schubert’s lieder, a passage which is currently being preserved on an outstanding series of discs by Harmonia Mundi.
The paths on this occasion carried him largely to sombre, meditative places, the domains being defined by a series of mainly minor poets - friends and acquaintances of the composer, and with whom he performed, conversed and relaxed in the Viennese salons of the 1820s.
‘Der Jüngling und der Tod’ (‘The youth and death’), with a text by Schubert’s early champion, Josef von Spaun, opened the recital, firmly establishing the literary and emotional tone; for here, Youth cries out for the ‘calm embrace’ of Death, yearning to be led to ‘dreamed-of’ lands far from the torments of life. Deutsch’s dramatically dark piano postlude presented a stark contrast with the subsequent gentle grace of the strophic ‘Das Lied im Grünen’ (‘Songs in the open air’); but despite the apparent sense of ease, a tremulous disquiet troubled the surface as the speaker looks ahead to the days when life is ‘no longer green’.
Songs by Johann Gaudenz von Salis-Seewis followed. The introspective text of ‘Die Herbstnacht’ (‘Autumn night’) allowed Goerne to settle into the seamless, legato stream of sound - seductively sustained, yet coloured by delicate emotive shadings - for which he is revered. Indeed, the understated melancholy and brooding might have become a little too pervasive, particularly given the performers’ propensity for performing the songs with scarcely a break, and the more agitated contours and sentiments of ‘An mein Herz’ provided a welcome contrast.
Despite the attempts of Richard Stokes, in the programme notes, to bolster the merits of these lesser lights of German Romantic verse (“If Schubert composed some 150 songs to the minor verse of his friends and acquaintances, that does not imply a lack of literary awareness, but rather a gift of friendship”), it was a setting of Friedrich von Schlegel, ‘The Wanderer’, which proved to be the highlight of the first half. Deutsch’s aural impression of the ‘moon’s light’ perfectly captured in rare harmonic nuance the silvery gleam; and, the more sophisticated relationship between voice and accompaniment drew an added depth from the performers - a seriousness which was sustained through the anonymous ‘Klage’ (‘Lament’) and Schober’s ‘Am Bach im Frühling’ (‘By the stream in spring’), where the sudden wanings of colour and weight in the voice revealed the omnipresence of death.
After the interval, Goerne and Deutsch seemed even more in harmony, embraced by a shared aesthetic vision. The second half began with upwardly curving ripples from the keyboard, signalling a rare moment of lightness. In ‘An die Laute’ (‘To the lute’) the serenading lover urges his instrument to be tender and soft - not to win his loved one’s heart, but rather so that the jealous neighbours are not disturbed. After settings of Freiherr von Schlechta and Johann Baptist Mayrhofer, it was again perhaps telling that it was the more stellar figures of Rückert and von Schober who had so obviously had inspired Schubert to expressive heights. The former’s ‘Du bist die Ruh’ (‘You are repose’) was exquisitely shaped, the second climax approached and wrought with remarkably controlled passion. In the concluding lines, Goerne created a quiet stillness of remarkable and touching delicacy. In contrast, the satisfyingly familiar ‘An die Musik’ revealed the darker colours in Goerne’s baritone range, and the dialogue between voice and piano left hand enabled Deutsch to enter into the conversation as both accompanist and equal.
The final two songs, ‘Abschied von der Harfe’(‘Farewell to the harp’) and ‘Liebesend’ (‘Song’s end’) lowered a sombre curtain on the evening’s proceedings. The performers offered no hint of consolation, Goerne sustaining the embedded melancholy until the dying strains, as ‘From a cold heart/ the magic of song now steals away,/ and ever closer step/ transience and the grave.’ As throughout the recital, there were no melodramatic gestures, no exaggerated mannerisms, just a heartfelt sincerity communicated by the most controlled and often understated musical means.
What was most striking about this recital was Goerne’s ability not only to present the material with consummate mastery, but also to convey a genuine sense of inhabiting the experience of these songs; to balance introspection with direct communication, all the while sustaining a mood of intimacy worthy of the Schubertiaden itself.