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Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
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.”