Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.
19 Jan 2011
James Gilchrist, Wigmore Hall
Arms swinging loosely at his side, a relaxed smile and bright eyes conveying
his confident ease, James Gilchrist’s young wanderer bounded nimbly onto
the stage at the Wigmore Hall, radiating and embodying the fresh
optimism of spring, at the start of this technically assured and dramatically
coherent performance of Schubert’s song cycle, Die schöne
But such sanguinity was almost immediately disturbed and ultimately
dispelled. Although never melodramatic (there was little of the painfully
intense brooding and wrought self-examination of Bostridge, Padmore or Scholl),
Gilchrist and his accompanist, Anna Tilbrook, shaped the narrative effectively,
subtly pointing the changes of mood: thus, shifts from hope to despair, from
introspection to anger, seemed inevitable, never exaggerated, as the psychology
of the drama unfolded in a controlled, naturalistic manner. The naïve
enthusiasm of the opening gave way to a resigned weariness and deeply
expressive poignancy at the close of the cycle; the sustained and penetrating
stillness and quietude which following the final cadence, revealed that the
audience, almost unconsciously swept along on the journey which began so
hopefully, truly shared the protagonist’s surprise at his ultimate
failure and disappointment.
Gilchrist’s light tenor and distinct diction (all well-shaped vowels
and crisp consonants but never mannered) perfectly conveyed the ebullient mood
of ‘Das Wandern’ (‘Journeying’). Assertive, dynamic
playing by Anna Tilbrook conjured a lively brook, the precise and springy
rhythms aptly conjuring the bubbling, restless water. Throughout Tilbrook took
an active role in the narrative: the regularity and clarity of the whirling
cycles of the mill in ‘Halt!’ and ‘Am Feierabend’
(‘When the work is done’), suggested both the literal power of the
mechanism and the figurative fixedness of the forces that the young wanderer
must face. Indeed, despite the happy ambience of the opening song, one might
have intimated a subtle but insistent menace in the incisiveness of the
brook’s tireless energy, which here positively supports the
wanderer’s song but which later becomes an insistent tremor — the
‘murmuring friend’ in ‘Danksagung an den Bach’
(‘Thanksgiving to the brook’) — and finally a threatening
‘roar’ (in ‘Mein’) which haunts, undermines and
Despite possessing a naturally light-grained voice, Gilchrist subtly used
tone and colour to indicate the wanderer’s psychological journeying and
wavering. Thus, the light headiness of ‘Wohin?’ (‘Where
to?’) expressed his excited anticipation, while in ‘Halt’
Gilchrist adopted a more resonant timbre upon arriving at the mill. Similarly,
the subdued, introspective questioning of ‘Der Neugierige’
(‘The inquisitive one’) — “tell me, brooklet, does she
love me?” — gave way first to an sudden, excited outburst when he
is sure of the mill girl’s love — “the maid of the mill I
love is mein!”; the persistence of the repeated phrase hinted at the
young man’s growing self-delusion. Replaced by a harder, more urgent tone
in ‘Tränenregen’ (‘Rain of tears’), the vocal colours
modulated into bitterness in ‘Die böse Farbe’ (‘The hateful
colour’) . Confident and comfortable across all registers, Gilchrist was
particularly controlled at the height of his tessitura, in the superbly
sustained arcs of ‘Danksagung an den Bach’ and in the more angry
protestations of ‘Der Jäger’ (‘The Hunter’).
Rhythm and pace were handled with similar expertise; slight rallentandi at
the close of songs permitted a fluent progression to the next, effectively
sustaining the narrative momentum. Pauses were meticulously judged — as
in ‘Der Neugierige’, where expressive dissonances and inconclusive
melodic lines were skilfully crafted to convey impending meditative melancholy:
“one little word is ‘yes’,/ the other is ‘no’/ by
these two little words/my whole world is bounded.” In the penultimate
song, ‘Der Müller und die Bach’ (‘The miller and the
brook’), Gilchrist’s almost imperceptible hesitations suggested
that the wanderer was lost in his own disillusion; detached from reality, he
now dwells in imaginary realms and suicide is the only possible closure.
Tilbrook subtly pointed the oscillations between major and minor modes
— the transition to the darker minor at the conclusion of
‘Mein!’ was stunningly affective — so that they served as an
aural metaphor for the ironic contrast between the verdant beauty and freshness
of the surrounding countryside and the wanderer’s growing disappointment
as he recognises the falsity of the land’s promise.
Gilchrist’s musical intelligence is considerable, and this was a
thoughtfully conceived and uniformly captivating whole. The paired songs,
‘Die liebe Farbe’ and ‘Die böse Farbe’, in which the
rich greenery is first a ‘beloved’ and then a ‘hateful’
colour, were an emotional and expressive highpoint; astonishingly, while the
voice almost disappeared in a pianissimo whisper, the words and their
sentiment were presented with deep impact. But it was the touching simplicity
of the final three songs which was most remarkable — and surprising,
after the emotional troughs and peaks of the preceding songs. The pale,
gentleness of the voice, defenceless against steady presence of the brook was
extraordinary poignant: the significance of Tilbrook’s initial
assertiveness was now apparent, the brook’s indifference to the
wanderer’s deathly lullaby revealed.
Gilchrist and Tilbrook released a highly acclaimed recording of Die
schöne Müllerin in 2009 on the Orchid label. That this audience was deeply
affected by this live rendering of the wanderer’s tale, was attested by
the long, resonant silence which followed the final cadence.