Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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