Recently in Performances
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.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
23 Apr 2010
Christopher Maltman, Wigmore Hall, London
The abiding elegance and beauty of Christopher Maltman’s baritone,
complemented by the interpretative wisdom and experience of Graham Johnson, one
of the finest vocal accompanists of recent times, made this an evening of
assured musicianship and expressive poise.
The fourteen songs which comprise Schwanengesang (‘Swan
Song’) were composed by Schubert in the year of his death, 1828. They do
not form a unified sequence: there is no continuous narrative or singular mood.
But, that is in many ways the strength of the ‘cycle’; for it is
the variety of emotions and situations, often juxtaposed in surprising
sequences, which accounts for the unsettling power of these lieder,
many of which are themselves characterised by striking inner contrasts. Dark
despair is followed by hesitant optimism; cynical irony by tentative hope.
Maltman and Johnson did not always distinguish the full range of subtle
emotional tones and shades contained herein, but their control of form —
crafted melodic lines, flexible rhythms and well-judged tempi - coupled with
impressive technical assurance, more than compensated for an occasionally
limited dramatic palette. Opting principally for either a veiled, hesitant
pianissimo or a bitter angry forte, Maltman’s reading
of these songs was one of disquiet and despair.
Maltman’s tone is particularly beautiful in the upper ranges, and his
focused, sweet lyricism was immediately evident in the opening song,
‘Liebesbotschaft’ (‘Love’s message’). Words were
breathed rather than intoned, vigour and passion reserved for a sudden surge of
emotion as the protagonist recollects the ‘crimson glow’ of the
beloved’s roses. The baritone’s large range was immediately
revealed in the following song, an authoritative reading of ‘Kriegers
Ahnung’ (Warrior’s Foreboding’), where Maltman plumbed rich
vocal depths to convey the horror of the death-laden battlefield.
Johnson’s appreciation of musical drama was also revealed: the flowing
ardour of the rippling brook of the opening song was here replaced by a tense,
sprung, rhythmic dynamism, subtle rubati and acceleration highlighting
the modulations between major and minor tonality which enhance the poignant and
ironic contrast between celebrations of earthly love and recognition of
Similar masterly control of pace was evident in ‘Frühlings
Sehnsucht’ (‘Spring Longing’), where the stanzas’
culminating questions - ‘But where?’, ‘But why?’ -
unsettled the calm assurance of the preceding romantic visions of the natural
world. A highlight of the Rellstab settings which form the first half of the
sequence was ‘In der Ferne’ (‘Far away’), where the
piano’s haunting introduction and subsequent echoes of the vocal line
suggested an isolation and alienation which cannot be alleviated by the
poem’s somewhat convention romantic imagery. ‘Abschied’ ends
the Rellstab sequence, a surprisingly light-hearted ‘farewell’ to
the protagonist’s home town as he sets out on his quest; the emotive
inferences of Johnson’s between-verse phrases and, once again, the
contrast of major and minor modes, undermined the spirit of optimism and
prepared for the subsequent Heine settings, with their greater psychological
complexity and unease.
In ‘Der Atlas’ (Atlas) the lonely bitterness of rejection was
forcefully conveyed by the imposing strength of Maltman’s tone, laden
with massive despair, and the frustrated undercurrents in the piano’s
introduction and postlude. After such turbulence, ‘Ihr Bild’
(‘Her likeness’) presented a contrasting moment of oppressive
stillness, although melancholy and loss remained paramount: sparse unison
textures evoked the poet-speaker’s self-tormenting ‘dark
dreams’, oscillating with the warm richer harmonies as the
‘wonderful smile played about her lips’. Such consolation was
however tinged with woe and proved transient. Here Maltman’s control of
the text was superb: the words floated into the ether, revealing the fragility
of his hopes and visions. The light, barcarolle-like ‘Das
Fischermädchen’ (The fishermaiden’) offered only a short-lived
respite before the gothic hallucinations of ‘Die Stadt’ (‘The
town’) and the sorrowful seascape of ‘Am Meer’ (‘By the
sea’) engulfed us once again. Most impressive in these bleak,
through-composed dramas was Maltman’s alertness to Schubert’s power
of suggestion, and the performers’ recognition of an inferred narrative
in Heine’s sequence; for instance, the harmonic progression which
connects the bare low C at the close of ‘Die Stadt’ to the harmonic
transition at the start of ‘Am Meer’ was skilfully controlled. The
‘narrative’ culminates in the extraordinary, harrowing song,
‘Der Doppelgänger’ where Johnson’s ominous repeating bass
line and startling modulations provided an eerie bed for Maltman’s
agonized free declamations, as the poet-speaker is forced to face the
embodiment of his own misery and anguish.
The light-weight joviality of Seidl’s ‘Taubenpost’
(‘Pigeon-Post’), appended to the sequence by Schubert’s
Viennese publisher, the enterprising Tobias Haslinger, makes for an odd
conclusion; perhaps it was intended to provide symmetry — seven songs in
each ‘half’ — or to alleviate the distress of the despairing
‘Doppelgängeer’, much as ‘Abschied’ (with which it
shares rhythmic motifs and mood) lightened the distant shadows of ‘In der
Ferne’? Whatever the reason for its placement, Maltman found scant
genuine cheer and consolation in ‘Taubenpost’: clear in diction,
sweet in tone, but emotionally reticent, Maltman’s light baritone
suggested the insubstantiality of the protagonist’s certainty and
Maltman’s intelligent performance was technically immaculate. Striving
for extreme, unsettling contrasts, perhaps he and Johnson did not always
capture the full range of emotional nuance; but this was a masterly and