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On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
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.