Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

OPERA TODAY ARCHIVES »

Performances

Violeta Urmana [Photo by Christine Schneider]
06 Aug 2010

Prom 21 — Berlioz and Wagner

Period instruments and nineteenth-century grand opera are seldom found on the same stage — or even the same sentence — but as adventurous practitioners increasingly experiment in the repertoire of the late-nineteenth and early-twentieth centuries, it’s a sight and sound that will inevitably become more familiar.

Prom 21: Hector Berlioz: Romeo and Juliet — love scene; Richard

Isolde: Violeta Urmana; Tristan: Ben Heppner; King Mark: Franz-Josef Selig; Brangäne: Sarah Connolly; Melot: Timothy Robinson; Kurwenal: Henk Neven. Orchestra of the Age of Enlightenment. Conductor: Simon Rattle.BBC Proms, Royal Albert Hall, London. Prom 21 Sunday 1st August, 2010.

Above: Violeta Urmana [Photo by Christine Schneider]

 

And, that’s no bad thing. This concert, the first of Sir Simon Rattle’s three Prom appearances this season, offered the opportunity to hear two great romantic scores performed on contemporary instruments and if the results of the lower pitch and the full, mellow tone of the OAE were not always wholly successful in the dramatic contexts, they were certainly thought-provoking and at times illuminating.

While the decision to present classic dramas of love and death by two cultural giants, Shakespeare and Wagner, seemed a natural and sensible one, it led to a slightly unbalanced programme, with the erotic love scene of Berlioz’s dramatic symphony, Romeo and Juliet, forming a first half lasting only 18 minutes — even in this rather slow reading by Rattle. Berlioz’s vast structure and forces — nine double basses towered over the centre of the platform — were shaped and guided with finesse by Rattle, who was ever alert to the composer’s startling harmonic effects. However, despite the use of copies of nineteenth-century woodwind instruments (for example, the oboes played on models of German instruments c.1865, with an easy, soft lower register; the bassoons employed French instruments c.1840 for the Berlioz, switching to German post-1870 for the Wagner, the latter possessing a darker, less reedy tone which blends well with the horns and clarinets), the sharp individuality of particular instrumental lines was somewhat softened, woodwind colours blending sweetly with the whole but not always delivering their full dramatic impact.

A similar problem was apparent after the interval, in Act 2 of Wagner’s Tristan und Isolde, where the harmonious whole was achieved at the expense of orchestral incisiveness. Wagner aimed for a unity of instrumental and vocal lines, with the symphonic leitmotivic texture carrying the burden of the emotional and dramatic narrative, in dialogue with declamatory and naturalistic vocal melodies; but here the wash of orchestral sound served primarily as a secure, relaxed back-drop to the singers, who were therefore pushed to the foreground. Adding the fact that this was a concert performance, with no scenery and little dramatic interaction between the soloists, this was hardly the Gesamkunstwerk of Wagner’s ideal.

That said, the concordant orchestral cushion elicited by Rattle did evoke a sense of ‘distance’, and an appropriately ethereal atmosphere, for Tristan’s and Isolde’s desire can never be fulfilled in this world and release from yearning will only be achieved through transcendence. Moreover, particular instrumental effects were not neglected, and the rich palette of the period orchestra was revealed: the off-stage horns signalling the departure of the hunting party were strident and clamorous, while eerie sul ponticello playing by the strings conveyed both the delicacy of the moment and the anxious vulnerability of the lovers. Low woodwind colours intimated the shift from the daylight world to the realms of night, from the mundane to the oblivion of the sub-conscious.

With two renowned Wagnerian specialists in the cast, expectations were high, and it was no surprise that the quality of the singing invested this performance with vigour and compelling drama. Violeta Urmana, as Isolde, had no difficulty filling the vast space of the Royal Albert Hall, her powerful, impassioned soprano always secure and focused, her tone thrillingly ecstatic. Sadly, Ben Heppner’s Tristan was less assured and rather inconsistent. While there is no doubting his innate appreciation of this musical language, there were more than a few wobbles, as he struggled to project. Yet, the exquisite sound for which he is renowned can still genuinely reveal Tristan’s exaltation. Franz-Josef Selig negotiated King Mark’s long monologue with confidence and clarity, conveying both the authority and stature of the betrayed King and the pain caused by Tristan’s disloyalty. Sarah Connolly communicated Brangäne’s distress thoughtfully, with controlled phrasing and delivery. Timothy Robinson (Melot) and Henk Neven (Kurvenal) completed the accomplished cast.

Overall this was a thoughtful and refined performance. But while these two passionate romantic encounters certainly touched the heart they did not, perhaps, quite reach to the soul.

Claire Seymour

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):