29 Oct 2010
New York Festival of Song
“Don’t I have the coolest job in the world?” said Steven Blier.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
“Don’t I have the coolest job in the world?” said Steven Blier.
He was talking from the stage about the day mezzo Sasha Cooke walked into his office fresh off the boat from Texas and the day tenor Paul Appleby waltzed in from Indiana. And another hundred people just got off of the train…. If they are terrific singers, I hope they turned to the New York Festival of Song (NYFOS). I can’t imagine why they wouldn’t.
Paul Appleby [Photo by Ken Howard]
The first concert of this year’s series was devoted to youth, and specialized accordingly in songs not merely about youth but often those composed by very young composers, composers who went on to bigger things. But those of us who love early Verdi operas and early Rodgers & Hart musicals and the Grateful Dead before they were everywhere appreciated the connoisseurship of reveling in very young Fauré and Schumann and Rorem and Busoni and Grieg and Ives and Sondheim—and slightly older Gershwin and Dylan. What themes inspire young composers to give a hint of how worthwhile they will become? Is it all lindenbäumen and young love’s first blight? Or is it … anticipation?
I first noticed Sasha Cooke when she sang the Sandman in the Met’s otherwise vocally undistinguished new Hänsel und Gretel, a moment of childlike magical glee, just right for Humperdinck. In a tiny hall like Merkin with its very live acoustic (when a small chorus sings there, you can hear each individual voice), she sounds quite different: Her voice is enormous, plush, lustrous, easily so, and perfectly supported. For most of a song recital, of course, she scales it back to merely very pretty, but whenever she reached an appropriate climax, restraint falls away like a superfluous shawl, and the results are resplendent—intimate, but hugely intimate. As an interpreter, she had the most fun becoming a small child for Ned Rorem’s “A Journey,” the bashful maiden boasting of her first conquest in Grieg’s “Verschwiegene Nachtigall,” where she slipped flawless little ornamental turns into the nightingale’s insinuating “Tandaradei,” the rather more sophisticated maiden of Hugo Wolf’s “Begegnung,” the aching hopefulness of Sondheim’s “Take Me to the World,” and—in duet with Appleby—the breathless expectant wonder and the contrasting, consummated coda of Charles Ives’s delicious “Memories” (“We’re sitting in the opera house”). She is a singing actress to anticipate and a voice to hear one of these days in a place where she can let it fly.
Sasha Cooke, Steven Blier and Paul Appleby
I haven’t heard Paul Appleby on the opera stage and, frankly, his voice seems (like Cooke’s) too delicious, too full-sized, too able to only be a concert singer, first rate as he is at that subtle skill. He has a smooth, supple delivery and inhabits his narrators: reveling in Schubert’s matchless invention in “Geheimnis” (Schubert was 19 at this point, almost an old master: the song is already D.491) and Vaughan Williams’s “Silent Noon.” Then, in moves and accent and exultant manner, he became with entire believability a Midwestern youth come to take the city by storm in Christopher Berg’s rollercoaster setting of Frank O’Hara’s “I’m Going to New York,” then cocky with adolescent sexual discovery in William Bolcom’s setting of Theodore Roethke’s “I Knew A Woman” and bitter with youthful disillusion in Marc Blitzstein’s “In the Clear.” His voice has power, but he holds it in reserve when portraying character; it comes out in songs like Paul Moravec’s setting of Wordsworth, “My Heart Leaps Up.”
Later concerts this season will be devoted to Songs of Gay Life and Songs of the Iberian Peninsula. Spain has been a NYFOS destination before, but we are unlikely to run low on little-known Iberian song literature anytime soon.