Recently in Reviews
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
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