Recently in Reviews
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
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.