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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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.