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Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
28 Jun 2010
Die Walküre in San Francisco
Ring fever rages on. San Francisco has just unveiled its Walküre the completed cycle to take place next June. Gratefully the price of the SFO effort has not become a topic of conversation, as has the cost of the just completed L.A. Ring
Whispers about the price tag of the upcoming Met Ring suggest the proportions of a foreign war.
Gratefully as well the SFO Rheingold and Walküre have looked like opera, and not like crazed imitations of Star Wars, so they are easier to talk about. Though not necessarily a more or less compelling take on Wagner’s mega opera, this plain SFO Ring is unfolding as conceptually direct and wonderfully human.
Two years ago Rheingold got the San Francisco Ring off to a rocky start with its light weight cast and unfocused staging. Still it was a promising beginning with lots of ideas, some of which did not work all that well (the Nibelheim special effects as example). But lots of fun came out of its director Francesca Zambello who imposed a light touch on the divine machinations that initiate this long saga of greed and love, affectionately capturing the naivete, optimism and entrepreneurial fun that built our cities.
Conductor Donald Runnicles got right to the point in Walküre, not even allowing the applause that greeted him to die before attacking the complications motivated by Wotan’s insecurities. The War Memorial Opera House is particularly kind to Wagner, allowing the transparency within his massive orchestral sound to project the depth of his mountainous landscapes, and as well the myriad of musical motivations to coexist amongst themselves and within this cosmic nature. Mo. Runnicles exploited the Walküre score to its utmost, a remarkably rich reading.
Eva-Maria Westbroek as Sieglinde, Raymond Aceto as Hunding and Christopher Ventris as Siegmund
Die Walküre is no place for lightweights (as in fact Rheingold is not either), and San Francisco Opera rose to the occasion with a nearly stellar cast. The Siegmund of English tenor Christopher Ventris captured the youth of a young hero, his voice beating with energy, the Sieglinde of Dutch soprano Eva-Maria Westbroek soared vocally over the maelstrom with the unborn hero in her womb. But it was Swedish sopranto Nina Stemme’s Brünnhilde whose voice rose over all else as the energy and psychic spirit of Wotan, her creator and the world’s master builder.
This is an American Ring (the mountains are surely our California Sierras, though there is no defining land or river-scape). Hunding’s cabin is an American primitive wood facade with a screen door that can be found no where else in the world other than in middle America. American bass Raymond Aceto in a long sleeved winter undershirt with suspenders was a medium voiced Hunding, his strut and menace hiding this character’s predestined impotence. Paired with his unhappy, beaten and defeated wife, Sieglinde in a ill fitting, sad pale blue dress Hunding, strangely, evoked sympathy.
Costumer Catherine Zuber dressed German mezzo Janina Baechle as Wotan’s wife Fricka in a sort of purple beaux arts long gown in which she stolidly prevailed as a wet-blanket moral conscience. Meanwhile Wotan, American bass Mark Delavan from the Rheingold cast, muttered and spat effectively as some sort of railroad tycoon, but was vocally pallid even before running out of voice (June 22).
Wendy Bryn Harmer as Gerhilde, Suzanne Hendrix as Schwerleite, Tamara Wapinsky as Helmwige, Pamela Dillard as Grimgerde, Daveda Karanas as Waltraute, Maya Lahyani as Siegrune, Priti Gandhi as Rossweise and Molly Fillmore as Ortlinde
Wotan’s Valhalla is seen through the window of a massive high rise. It was not specifically San Francisco but a high rise city profile that is specifically American, with echoes of Fritz Lang’s Metropolis. Set design for this American Ring is by Michael Yeargan who, with Mme. Zambello is working in a determined post-modern vocabulary, Wotan’s desk a huge table with four huge wooden claws as legs, the following scene moving onto the contemporary detritus under an abandoned elevated freeway, and finally an abstract space for the Valkyries and the Wotan farewell to Brünnhilde.
Beautiful, detailed lighting by Mark McCullough subtly caught a real life wolf-dog and his cub racing across the stage as Wotan was about to kill his son, connecting the innocence of real nature to the tragedies of cosmic destiny. McCullough magically captured the steel gray folds of Wotan’s coat covering the sleeping Brünnhilde as a ring of real fire began to encircle the stage, this real fire somehow making the fairytale ending of the Ring’s second installment humanly real, and unusually moving.
Everything in this Ring was ordinary, and that was its triumph. Rarely has operatic acting achieved this level of realism delicately sitting on the verge of expressionism. This accomplishment signals heroic efforts of stage direction plus determined commitment from singers. Miraculously this staging melted effortlessly into the Runnicles reading of the score, the abstract musical motivations from the pit rendered on the stage in movement that effortlessly and truly portrayed complex dramatic motivations. Gesamtkunstwerk indeed!
It was a good night at San Francisco Opera.