29 Oct 2010
New York Festival of Song
“Don’t I have the coolest job in the world?” said Steven Blier.
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.
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.
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.
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.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
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.
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.
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.
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.
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.
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.
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.
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
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!
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.
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.
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 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.
Sir Mark Elder and the Hallé 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.
“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.