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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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
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.
01 Jun 2010
Ian Bostridge at the Wigmore Hall
One very tall and gaunt,one short and stocky, one introspective, one effusive : Ian Bostridge and Antonio Pappano, Music Director of the Royal Opera house make an odd couple, but they've partnered each other musically for many years. It's a good relationship, as this recital at the Wigmore Hall demonstrated.
The heart of the programme was Schwanengesang, D957 (1828) which Bostridge and Pappano recorded in 2009. For this recital, they chose only three extra songs (different from those on the CD), which made for a short evening. We exited the Wigmore Hall while it was still twilight. Whether this was planned or not,it was appropriate. The songs in Schwanengesang were written in Schubert’s own twilight. They were collected and titled posthumously.
All music, almost by definition, is dramatic, but there are many forms of drama. Lieder is quiet and introspective, “inner” drama. where truth comes from other than voice depth matters. That’s why I have so much respect for Ian Bostridge. Lieder is an intellectual genre, and he’s unusually sensitive to meaning. There’s nothing safe or bland about his singing, but Lieder isn’t bland or safe.
Bostridge performances can be unpredictable. Sometimes he holds back emotionally, which is understandable, but when he ignites, he can be amazing. In this performance, he seemed more relaxed than usual, which was an interesting compromise. Pappano has a stabilizing influence which can pay dividends as their recording of Hugo Wolf songs shows. Bostridge thrives when he has a supportive pianist, but sometimes his finest work comes when the support pushes him creatively.
Widerschein D949 began with a flourish, Bostridge creating a soaring arc on the phrase “Die Geliebte säumt”,but became more restrained after that first outburst. In Winterabend D938, heavy snow muffles the sounds of the busy world outside, but the poet has internalized the relentless snowfall. “Sinne, und sinne”. Pappano’s playing caught the muffle well, but the danger is that the mood can turn soporific.
This muted spirit carried over through Die Sterne D939 and into the first few songs of Schwanengesang. Understatement can work well with Schubert, even in Kreiger’s Ahnung, where the images are of battle, but the message is of rest, possibly eternal.
Nonetheless, there are other moods in this collection. For Ständchen, Bostridge quickened the pace, because the poet is quivering with anticipation that his lover might appear. Chances are that Schubert knew, and Rellstab knew, that she won’t show. In Lieder, love is usually unrequited.
The Heine Settings provide sterner material. In Der Atlas, Bostridge’s voice broke out of repose, taking on a harder, more violent edge, which fits the song, and made a nice change from the refinement that had gone before. In contrast, Der Fischermädchen was deliciously free, Bostridge making clear the erotic mischief in the last stanza.
By this stage, the contemplation in Schwanengesang starts to darken, eerily. Bostridge was now much more in his element. The strange, clarinet-like quality of his voice is ideally suited to evocations of the surreal. Die Stadt and An Meer felt mysterious, as they should be. Heine doesn’t do landscape for its own sake. In Der Doppelgänger, Bostridge used the extreme dynamic range to heighten the sense of mounting horror. No peaceful contemplation here. He spat the words out, emphatically. “Du, Doppelgänger! du bleicher Geselle!” No need to build beauty or softness. It’s a song of violent accusation. Bostridge’s lips curled, horrified loathing etched in his features.