Recently in Reviews
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.
12 Jul 2010
Handel’s Serse (Xerxes) at Iford Manor
Something rather extraordinary happened to opera seria in 1738. The
acknowledged master of that time, London’s George Frideric Handel,
presented two new operas at the King’s Theatre: Faramondo and
They were stylistically very different and with the latter the
German-born composer threw caution to the winds both musically and
It was a bad call at the time as Serse flopped completely. The trouble was
that he dared to change a tried and tested formula: the wholly serious, or
tragic, seria format was infiltrated by comic or buffo
elements; he mixed characters of both high and low class within the drama, and
he even tinkered with the classic A-B-A da capo form of the arias. In
Serse much of the vocal music is in arioso form, which drives
the action forward more than the traditional, more musically complex da
capo format. All this was too much for London audiences at the time and
Handel lost money and soon after abandoned opera for the oratorio form. Luckily
for us, today we can appreciate his innovations and revel in them — as
indeed did the audience at Iford Opera in Wiltshire last Friday night.
Andrew Radley as Arsamene [Photo courtesy of Iford Opera]
Once again, Iford Arts is to be congratulated for rising so magnificently
above the apparent limitations of its charming venue — one could indeed
argue that those very limitations of size and accessibility produce something
special time and again and last night was no exception. Iford encourages young
talent and in its regular offerings of Handel masterpieces in intimate
surroundings it also encourages the singers to concentrate on expression and
colour, as they do not need to worry about pushing their voices.
The usual convoluted Handel plot of misplaced affections, thwarted plans,
ladies (and men) in disguise and the triumph of love and duty (in varying
degrees) was efficiently translated into the tiny, greenery-draped colonnaded
space that is the delightful Iford Cloister by director David Freeman. Although
advertised as “Serse”, the opera was given in English and this
“Xerxes” was a translation/edit by Andrew Jones which revived
memories of the famous Hytner production of the 1980’s in its language,
if not its staging. The lively score, regretfully drastically abridged, was
offered in spicy miniature by the well-regarded players of La Nuova
Musica directed from the harpsicord by David Bates who encouraged some
really meaty, full-blooded playing from his 10 piece ensemble. In Acts I and II
the cast were somewhat depressingly attired in budget-store casuals with a bit
of sequin tat here and there to suggest royalty (one felt particularly for the
female singers who suffered very unflattering wardrobes — surely at odds
with the story?) but come Act III things improved a little. A few pyrotechnics,
many tiny candles, and a clever exploding model bridge (to take King Xerxes
across the Hellespont into Greece) made the most of the tiny stage area.
Kristin Finnigan [Photo by and courtesy of Ralph Ripley]
More importantly, there was much to admire vocally with some excellent
singing from the young cast, many of whom are at the beginning of their careers
yet showed remarkable histrionic as well as musical abilities in this most
demanding of genres. There was no one outstanding performer, but we left with
perhaps three strong memories: the exciting contralto voice of young Kristin
Finnigan (Amastre) which promises to help revive the great tradition of this
most English of voice types, the impressive comic timing and agile baritone of
William Townend (Elviro) and the expressive warm-toned countertenor of Andrew
Radley (Arsamene). Verity Parker impressed with some spot-on high coloratura as
Romilda whilst also singing with some nice supple tone. She was contrasted
effectively with Kristy Swift in the soubrette role of Atalanta who
brought out the foxiness of this character with some sparkling high notes and
agile phrasing. Rather unusually, this production gave the title role to a
countertenor, the more experienced William Purefoy. These days, it’s more
often a mezzo soprano role (although written by Handel for a soprano
castrato of great renown, Caffarelli) but here at Iford the tiny stage
and proximity of the audience enables the less powerful countertenor voice to
take it on. Purefoy coped well enough with the high tessitura of this
demanding role, if not convincing us dramatically. His was no dangerously
vindictive King but rather a placid, slightly academic, royal. This was
particularly so in the scenes with his stage brother Prince Arsamenes, when
Radley acted for both of them. Purefoy is certainly a good singer (his
“rage” aria, Crudie furie in Act III was efficiently
despatched despite its huge demands on the singer) but rather miscast here.
The role of the bluff, if dim, General Ariodate was robustly taken by
baritone Jonathan Brown who made much of his limited role whilst contralto
Kristin Finnigan was forced to do the same. How one longed to hear more of
Amastre’s music and less of her creeping around the cloister, forever
listening to the plotting of others’ loves. Finnigan might just be
something special in the making — directors take note.
Cutting Handel is a fact of life — unpleasant but sometimes necessary
— but for this writer there were just too many “cuts too
far”. So many important, and lovely, arias went unheard. Everyone comes
to Iford by car (there is no evening public transport in this idyllic rural
location) so why not revel in more of Handel’s sublime music and get home
half an hour later? After all, another thirty minutes in this beautiful place,
with music of this quality, is hardly an imposition.
© Sue Loder 2010
Serse, by G.F. Handel continues on the 13th, 14th, 16th and 17th
July at Iford, near Bradford on Avon, Wiltshire, U.K. More information: www.ifordarts.co.uk