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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
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At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.”