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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.
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
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.