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

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the HallĂ© Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Performances

Susanna Phillips
16 Oct 2010

Jephtha, New York

Jephtha was Handel’s last work — he went blind while composing it, noting this on the manuscript, and though he lived another seven years, did not deign to dictate new music.

G. F. Handel: Jephtha

Jephtha: Thomas Cooley; Iphis: Susanna Phillips; Storgè: Charlotte Daw Paulsen; Hamor: Ian Howell; Zebul: Kelly Markgraf. Chorus and orchestra of the Church of St. Ignatius Loyola, conducted by Kent Tritle. Performance of October 13.

Above: Susanna Phillips

 

That’s a pity, because Jephtha’s musical and dramatic structures indicate that a closer intertwining of staged drama and static oratorio was coming into being: Chorales are fewer and less involved in the action than in the earlier oratorios, and the action includes a remarkable quartet of conflicting points of view at a moment of high tension, almost unprecedented in Handelian drama and pointing the way to Mozart and Rossini. Characters state their feelings in da capo arias, as one expects, but alternate such static reveries with soliloquies in recitative accompanied by full orchestra or the occasional duet. The characteristic emotions and tunes we know from Handel are here, but new expressive tools are brought to their aid. After forty years in the business, the great man hadn’t run out of, or even low on, new ideas.

The story, though Biblical, resembles the Idomeneo legend familiar to us from Mozart’s opera (Bible stories could not be staged in England before the twentieth century): Israel’s General Jephtha has vowed, if successful in battle, to sacrifice the first creature he encounters on his return. To his embarrassment, the creature who emerges to welcome him is his daughter. He squirms, he bargains, he considers alternatives — but a vow’s a vow. However, like Neptune (in Idomeneo’s case), Jehovah lets him off the hook: An angel suggests that Iphis, the general’s daughter, be offered to perpetual virginity as a Jewish nun, in effect, and that an animal be sacrificed instead. In the Bible, actually, relentless Jephtha sacrifices his daughter, but Handel’s version recalls the tale of Abraham’s “sacrifice” of Isaac. In any case, the unhappy ending would have had unpleasant political ramifications in Handel’s day, when the rationalists were dwelling on such tales to discredit religion generally. Handel, devout believer and lifelong optimist, pulls it off convincingly, and few among his usual audience today are likely to spot the change. Only Iphis’s boyfriend remains unhappy.

St. Ignatius Loyola, Manhattan’s Jesuit church, is an edifice in the style of a great Roman basilica, with porphyry columns, faux marble panels, frescos of the saint’s life, death and apotheosis and a rather muddy acoustic: A small chorus and orchestra (always preferable for Handel) booms down the long nave to Park Avenue, but individual voices and instruments are not as clear as one might like and soloists seemed to lose their clarity at one end or another of their range. Conductor Kent Tritle’s rhythms were happily vivid, and the three lengthy acts passed swiftly to the exciting conclusion.

St.-Ignatius-Loyola.gifSt. Ignatius Loyola

The singers made rather an able than a striking set. Thomas Cooley, in the emotionally awkward title role, sounded too light for the martial persona in the first act but gained strength and bite as the catastrophe of his ineluctable choice came home to him. Charlotte Daw Paulsen has some splendid maternal contralto notes but her voice thinned to a strand above them. Ian Howell, singing Iphis’s boyfriend, a role Handel wrote for a mezzo soprano, is an adept countertenor without the mezzo power or sensuousness one might desire. Kelly Markgraf has a pleasing and agile bass but had very little to do as Jephtha’s brother.

Vocally the occasion would have been professional but little more had not Susanna Phillips sung Iphis, the designated sacrifice, whose arias must present her as a spirited warriors’ cheerleader, a devoted daughter, a fearful suppliant, and a willing martyr by turns. Phillips, who has been garnering lots of attention lately, proved worthy of it: she has an even, flexible voice with a goodly heft to it, shining power in the upper range and no less force and beauty in lower tones. (Handel never wastes part of a voice — he expects his singers to use it all.) Phillips gave a radiant performance, and by the very fact of singing so well throughout her compass disproved any suspicions that St. Ignatius’s acoustics were kinder to certain ranges of sound than others. Her only failing is a certain imprecision in swift ornament — she has, for instance, no trill, and Handel often calls for one. The quality of her soprano is so thrilling and her musicianship so steady that I hope to encounter it often. She will sing Pamina at the Met this winter; she should be adorable in that adorable (and not too ornamental) part.

John Yohalem

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):