Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.