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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
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
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.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
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.