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During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
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.”