Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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