Recently in Reviews
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.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
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]’.
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.