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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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.
17 Mar 2010
Karl Böhm: In Rehearsal and Performance
For many, the fine recordings of Richard Strauss’s tone poem Don Juan by the late Karl Böhm seem to have emerged full-spring from the baton of Karl Böhm and the playing of the various orchestras he led.
As effortless as those performances may see, Böhm worked to achieve the results, and as much as his legacy points to the work he would do in rehearsal, it is not easy to find visual documentation of it. Yet a fine DVD exists to call attention to this aspect of the conductor’s career. Recorded on 17 September (rehearsal) and 18 September 1970 (performance), this recording offers a welcome focus on the final preparations of a single piece from start to finish. While some recordings offer selections of rehearsal footage as a bonus or among the “extras” included with a video, the premise behind this release is the rehearsal. In doing so, it affords a glimpse at Böhm in rehearsal, where the formal face known from stills and several recordings gives way to the conductor’s involvement with the details of the score.
With the orchestra in shirtsleeves, the tone is set to show the conductor working out the details that make a difference in Strauss’s finely detailed score. While some of the stops may seem for minutiae, when taken together those refinements make the core come to live in performance. The subtleties of dynamics emerge in the first part of the rehearsal, and Böhm was good not only in attending to the mistakes, but also to call attention to places where the performances succeeded. In the reality of this rehearsal, Böhm is not merely running through the score for the sake of neither the camera nor positing an image of a tyrannical director. Rather, he reviews the details to his satisfaction, even when some of the players seem from their facial expressions to tire of the continual interruptions the conductor brings to the playing. After all, this is where the work needs such dissection, and the comments Böhm makes to the performers is crucial to the results he would bring to the performance.
Just as he would stop rehearsal to describe certain markings (like the “non espressivo” marking before rehearsal letter G), Böhm’s remarks over the music also help to show how he wanted to shape the interpretation. It is unusual to see this kind of detail used on a piece which some orchestras perform with less preparation, but the concepts he brought to this work would have a bearing on style Böhm brought to Strauss’s orchestral music. It is not difficult to imagine how he could shape the other tone poems, since the details in the released performances bear out such fine attention.
This video is an excellent opportunity to see Böhm working with his musicians in one of the more familiar pieces of orchestral repertoire. As much as the score is well known, he brings out details that not only address the color of the orchestration, and thus, the effects important to the tone poem, but also the articulations and other elements essential to punctuating phrases and placing emphases. Lengths of notes, pauses, and silence come into play as this score takes shape from the fine rendering the Vienna Philharmonic would be expected to give this or any work, to the distinctive way they present a reading under the leadership of Karl Böhm. It is interesting to see the rehearsal’s duration of forty-five minutes - about three times the length of the actual performance of the piece.
Those familiar with the conductor’s work should find this recording of interest for the insights it gives to the score of this familiar tone poem. Böhm emerges as demanding, but not obsessive, with the demands taken as a whole demonstrating the standards he would expect of his players. Just as studies of sketches and drafts should point to an increased appreciation for the finished works, this recording resembles such source studies in preserving the process that takes the orchestra into a polished execution. (The concert performance is offered in a single track, framed by a brief introductory trailer and the final credits.) While it is difficult to generalize from a single video like this one, Böhm’s rehearsal for this specific 1970 rehearsal of Don Juan serves to document the efforts of this highly respected conductor. Moreover, it offers a sense of the Vienna Philharmonic in the latter part of the twentieth century.
This DVD is in color, with crisp, clear images that suggest a documentary film rather than a televised broadcast. This makes it possible to observe accurately the gestures, body language, and demeanor of Böhm and his performers. More than that, the sound is clear and resonant, giving a good sense of the quality associated with Vienna’s Grosser Musikvereinssaal. Also, the navigation of this rehearsal documentary helps for those who would want to use the film in the classroom. Music students may gain an enhanced appreciation of this work when they see it in rehearsal and those unfamiliar with German benefit from the solid translations found in the subtitle track. All in all, the presentation and the content have much to recommend in this DVD, which documents the career of one of the outstanding conductors of the twentieth century. This is the first of several DVDs, which capture Böhm’s work, and we anticipate further releases under the label “Karl Böhm in Rehearsal and Performance.”