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Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
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.