29 Oct 2010
New York Festival of Song
“Don’t I have the coolest job in the world?” said Steven Blier.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
“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.