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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
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.