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Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
10 May 2010
Modern English Song Alive and Well
London’s Wigmore Hall is one of the world’s great centres for art song. This recital, by Susan Bickley and Iain Burnside, specialists in the genre, showed that English language art song is alive and thriving.
Everyone’s heard Sir Richard Rodney Bennett, even if they don’t realize it. He wrote the music for the films, Four Weddings and a Funeral, Far from the Madding Crowd and Murder On the Orient Express . He embraces jazz, cabaret and show tunes enthusiastically, yet he studied with Pierre Boulez for two years. The four Dream Songs (1986) are to poems by Walter de la Mare, catching the poet’s delicate magic. “Elf-light, bat-light, touchwood-light
in a dream beguiling in a dream of wonders in a world far away”.
Susan Bickley and Iain Burnside have been working with Bennett for many years, so this performance hinted at much greater riches on offer.
Bennett, though, isn’t by any means the only English composer writing art song. There are many others less well known but very good indeed. Bickley and Burnside chose a small sample from the iconic NMC Songbook. NMC is an innovative, independent company, dedicated to promoting the best in modern British song. The NMC Songbook won the 2009 Gramophone award for Best Contemporary Recording. It’s a window on what’s happening in British music.Such a range of composers and styles! Diverse as the scene is, it’s definitely creative.
John White’sHouses and Gardens in the Heart of England sets the text of a tourist brochure. It’s hilarious, playing with the self consciously stunted Officialese. Bickley sings with mock solemnity, Burnside brings out the free flowing liveliness in the piano part. This song is so good it should be standard repertoire. Jeremy Dale Roberts (b 1934) Spoken to a Bronze Head is an elegiac contemplation of the passage of time, well paced and elegant. Julian Grant’s Know thy Kings and Queens is an exercise in downbeat humour, while in Brian Elias’s Meet me in the Green Glen, plangent lines recall plainchant. Richard Baker’s Lullaby pits jerky staccato piano against voice in brittle irony. Not a typical soothing lullaby : this baby fights back!
Bickley and Burnside have also recorded Ivor Gurney songs, so it was good to hear them perform a selection live. Gurney was quintessentially “English”, only really happy in his native Gloucestershire countryside, but bucolic he is not. There’s an edge in his work which is universal. Bickley performed the famous I will go with my father a-ploughing as if it were grand opera, but was more idiomatic in the other songs, such as the tender All Night under the Moon.
But what to make of By a Bierside, where, in the first strophe Gurney mourns the loss of life, then switches to a strange celebration of death “It is most grand to die”, emphasized by a huge arching line after momentary silence. Bickley’s voice soars triumphantly, but what kind of triumph does Gurney really mean ? Gurney’s more ambiguous than he seems.
Bickley and Burnside ended their concert on an upbeat note, with William Bolcom’s 3 Cabaret Songs (1977-85) Each song is a vivid vignette. Murray the Furrier comes alive in Bickley’s characterization. Amor is joyously camp, a cheerful parody showing that art song can, after all, get an edge on pop.