11 Dec 2010
Cecilia Bartoli at the Barbican Centre, London
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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 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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
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.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
You sense that many people would be happy to listen to her whatever the repertoire. So, it was heartening to find that for her Barbican Centre concert, Bartoli devoted so much time and care to Handel’s operatic output and generating such enthusiasm for material which can still be regarded as specialist.
After exploring the life and work of Maria Malibran and the music written in Italy for the castrati, Cecilia Bartoli was back on more familiar territory at her concert at the Barbican Centre, London on Wednesday 8th December. She sang a sequence of arias from Handel’s Italian operas including substantial extracts from Giulio Cesare with Argentinian counter-tenor Franco Fagioli, accompanied by the Basel Chamber Orchestra.
Handel’s major operas were written for some of the greatest singers of the day; great talents can articulate the drama within music and present the emotion behind the showers of notes. Technically Bartoli is amazing, if idiosyncratic, but her greatest strength is neither as a technician nor as a stylist (thought she is strong in both these areas). Where she excels is in telling a story and drawing the listener in.
When not singing her stage manner was a little too winsome for my taste. But when the music started she was transformed. Rarely have I been at a recital where each aria was so strongly presented with its own character. For the opening sequence, the overture and two of Armida’s arias from Rinaldo she was transformed into the sorceress, her musical gestures matched by flashing eyes and dramatic arm movements.
This drama was then contrasted with a light bright aria from Lotario, a charming simile aria where Handel’s plays with the text (about a little boat in the breeze on the ocean) by adding running passages in the music.
The orchestra then played the Allegro from Veracini’s Overture No. 6 in G minor. Veracini was a violinist, contemporary of Handel, who came to London and had some success with his concerts. He also ventured into the operatic sphere, with less success, though his operatic version of As You Like It sounds intriguing.
Bartoli then returned with “Ah! Mio cor” from Alcina, sung with great power but also a strong sense of line. In this aria, Bartoli presented Alcina as a quicksilver, captivating woman and you wanted to hear more of her in the role. Her mercurial take on the aria was in fascinating contrast to Inga Kalna’s account of it at the recent complete performance of Alcina at the Barbican.
The orchestra then played two short overtures by Porpora, another contemporary and rival of Handel’s. Both from cantatas written late in his career after he had left London. Full of dramatic contrasts and striking orchestrations, they seemed effective preludes rather then works in their own right.
In “M’adora l’idol mio” from Teseo, Bartoli was paired brilliantly with solo oboe, the pair creating a sparkling duet partnership in the complex passage-work in the aria. Whilst it would be fascinating to hear Bartoli as the sorceress Medea from this opera, her account of this aria for the opera’s heroine Agilea was everything that it should be. But she turned to another evil sorceress, Melissa from Amadigi di Gaula for the closing item in part one, “Destero dall’empia Dite” in which Melissa threatens to raise every fury from hell, with the help of solo oboe and trumpet. Another bravura showpiece which Bartoli turned into a mini drama.
Both this and the preceding item were performed with recitative .I think this makes all the difference to a baroque aria and could have wished that Bartoli had included more; she is after all Italian and her was with the words is vivid.
Bartoli’s Cleopatra, a role which she has sung on stage, was richly coloured and fascinatingly varied, giving us a tantalising glimpse of what her performance of the full role might be like. “V’adoro pupille” was erotic but aristocratic, though it was a shame that the accompaniment lacked Handel’s full orchestration here. “Se pieta” was perfectly judged, showcasing Bartoli’s marvellous way with line, musical and dramatically involving. Finally “Da tempeste” was all that you could imagine, brilliant, charming and vivid.
Fagioli’s Cesare was not quite yet in the same league. He has an attractive, high counter-tenor voice with a strong vibrato and quite a feminine cast. His voice lacks the edge which some counter-tenors have and this was something that I missed in this music. “Va tacito” was superbly sung with fine solo horn playing, but lacked that element of danger which needs to underlay the music. His voice seemed too soft grained for the dramatics of “Al lamp dell’armi” but he did interpolate some superb high notes in the da capo. But the lyric beauty of “Aure, deh, per pieta” suited his voice perfectly. Finally Bartoli and Fagioli joined a lively performance of Cesare and Cleopatra’s duet from the opera.
This was a long and generous programme with Bartoli singing 8 substantial arias plus duet. In response to the enthusiasm of the audience at the end we were treated to 3 encores, one from each singer and a duet from Rinaldo.
Bartoli’s choice of arias seemed to highlight two particular ways she has of performing baroque music. Lyrical music was sung with gloriously long lines, floated beautifully and emphasising high quietness. There were moments which reminded me of Caballe’s habit of opening recitals by singing a group of arie antiche with the music placed high in the voice and floated in a glorious pianissimo. There was something of this showing off in the way Bartoli placed many of the high lying passages. In contrast passage-work was sung in her distinctive, robust manner. This is something you either love or hate, the way that her intense, vibrato laden voice moves round the running passages at high speed creating a remarkable, and distinctive effect. I must confess that on disc I have found this sometimes rather difficult to take, but that heard live the effect was less disturbing and I could relax and appreciate the artistry that was going into the performance.
The Basel Chamber Orchestra, leader Julia Schröder performed without conductor, a nice sized group with 18 string players. From the first notes of the overture to Rinaldo they gave the music a fresh, crisp, newly minted feel. All the solo instrumental parts were superbly played and we even got a wind machine in the opening aria. The group were far more than just support and made themselves fine partners in Bartoli’s performances.
Bartoli held the audience spellbound for this long programme of baroque arias, something not every singer could do. All I wish for now is that we could hear her in a complete opera.