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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
06 Jun 2010
Bostridge and Pappano at Wigmore Hall
Bringing their recent recording of Schubert’s late songs to the concert stage, Ian Bostridge and Antonio Pappano swept through a sequence which ranged from bitter-sweet regret to angry self-reproach, from hesitant hope to turbulent despair, in this the second of two performances at the Wigmore Hall.
Serious, earnest, meticulous, intense
such qualities we have come to expect of any Bostridge performance. Some may find his cool, even severe, stage presence and arch gestures, occasionally distracting or overly mannered; but there is no doubting his commitment to the music and, equally, to the emotional drama of the texts. As ever, his diction was crisp and clear; the desire to convey every nuance of the poetry at times took precedence over pure vocal beauty or melodic lyricism, but was evidence of absolute dramatic integrity.
Although there was no continuous ‘narrative’ running through this recital, which was performed without an interval, two archetypal Romantic themes to which the texts repeatedly returned provided unity — unattainable love and alienation. The opening song, ‘Widerschein’ (‘Reflection’), established a subdued mood. Coloured by the lower registers of piano and voice, a halting, melodic line tells of the fisherman who waits ‘sullenly’ on the bridge for his absent love; as he dreams, a radiant vision is reflected in the water — a fitting metaphor for the unfulfilled yearning revealed in so many of the songs that followed. Here, Bostridge’s placement of the faltering vocal line was precise and controlled, but in ‘Der Winterabend’ (‘The winter evening’), his tone was more melancholic above restless semi-quavers in the right hand of the accompaniment. The melismatic close, ‘Seufze still, und sinne und sinne’ (‘Sign in silence, and muse and muse’), plaintively conveyed the old man’s ceaseless meditations as he awaits the coming of night and death. It is such attention to textual and musical detail that reveals Bostridge’s immersion and genuine involvement in the world of each song.
‘Die Sterne’ (‘The stars’) was more assertive, driven by the piano’s dactylic rhythm which mimics the stars’ heavenly shining. At times, however, Pappano’s boisterous accompaniment overwhelmed the voice; indeed, throughout the recital his playing, while undoubtedly committed, often lacked discretion and restraint, and was marked by over-use of the sustaining pedal and some cloudiness of texture.
‘Schwanengesang’ (‘Swan Song’), gathered into a collection — and shrewdly titled — by the Viennese publisher, Tobias Haslinger, comprises seven settings of Rellstab and six of Heine. This was an anguished account: not a ‘story’, rather variations on the theme of emotional vulnerability. Extreme contrasts characterise the Rellstab songs. The subtly shifting modulations of ‘Liebesbotschaft’ (‘Love’s message’), matched by a perfectly understated dialogue between the voice and the inner lines of the accompaniment, were followed by Pappano’s turbulent drum rhythms at the opening and close of ‘Kriegers Ahnung’ (‘Warrior’s foreboding’), where dreams of his beloved disturb the soldier’s intimations of imminent death. Bostridge and Pappano highlighted the inner contrasts too, underlining affective harmonic movements, drawing out the lyricism of the soldier’s bitter-sweet recollections, “How often have I dreamt sweet dreams/ resting on her warm breast!” Such melancholy brooding was deftly swept away by the feverish questioning of ‘Frühlings-Sehnsucht’ (‘Spring longing’); Pappano’s tremulous triplets precipitated a frenetic rush to the poet’s last passionate plea, “Who shall finally quell my longing?” The answer, “Nur Du!”, (“only you!”) was an exhausted cry of despair.
‘Ständchen’ (‘Serenade’) was fittingly more restrained; and here Pappano did sustain a deft staccato throughout, underpinning the gentle nocturnal imploring of the poet’s song, which rise to a suggestive final call, “Komm, beglücke mich!” (“Come — make me happy!”). ‘In der Ferne’ (‘Far away’) was a sombre rendition of the Romantic wanderer’s alienation: the voice sank to its lowest registers, a desolate pianissimo revealing that “alas, no blessing follows him/ on his way!” Bostridge balanced detailed attention to individual words — “Nirgend verweilender” (“you who never linger”) — with carefully shaped melodic arches, bringing a fleeting warmth to the protagonist’s memories of whispering breezes and sunbeams. ‘Abschied’ (‘Farewell’) was a jauntily ironic conclusion, with its tripping accompaniment rhythms and deceptively nonchalant “Farewells!”
The Heine songs are more concentrated in their intensity, and as the performers moved swiftly from one song to the next, there was a disturbing accumulation of dramatic tension. The misery and self-pity of ‘Der Atlas’ (‘Atlas’) was shocking in its honesty; the oppressiveness of ‘Die Stadt’ (‘’The town’) — with its diminished harmonies and bare, profound close — overwhelming. Bostridge brought a gentle tenderness to the major-key second verse of ‘Ihr Bild’ (“Her likeness”), striking after the cold unisons of the opening, and dashed away by the forceful admission in the last line, “I have lost you!” The stillness at the opening of ‘Am Meer’ (“By the sea”) seemed to offer the hint of some repose and consolation, but rapidly declined into a pained and angry revelation of a woman’s betrayal. But it was the closing song, ‘Der Doppelgänger’ (‘The wraith’), that brought forth the most remarkable display of emotional catharsis, building from veiled beginnings to tormented self-castigations. With astonishing courage, Bostridge relished the free declamations, interpreting every detail, fully becoming the man “wracked with pain” in both voice and body.
Seidl's 'Die Taubenpost' was performed as a brief encore, momentarily alleviating the anguish but not fully dispelling the darkness as we exited the Hall, into the fading evening light.