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.
16 Jan 2011
The Art of the Countertenor
Since he first came to notice a few years ago — in Messiah in this very hall, as Creonte at Covent Garden, and as Arsace in Partenope at New York City Opera, to name by a few recently acclaimed performances — many a starry accolade has been heaped upon young Welsh countertenor, Iestyn Davies: “achingly beautiful tone”,“unforgettable focus and poignancy” and “compelling sense of rhetoric” are typical of the bountiful superlatives.
This recital of gems
from the seventeenth and eighteenth centuries undoubtedly confirmed why Davies
deserves such acclamations. Moreover, a concert of two distinct halves, it
demonstrated the extraordinary range of his technical accomplishments, musical
insights and dramatic embodiments. Unaffected and assured, he does not seek to
impose himself upon the music; rather, his easeful stage presence and innate
appreciation of the requirements of each particular musical medium allows the
music itself to rise to the fore. The voice never distracts; it is only at the
final cadence that one realises how supremely the song has been served.
We began in the seventeenth century with an exquisitely compiled and
meticulously researched programme. Not only were the names unfamiliar but works
were chosen to demonstrate idiosyncratic, and often unusual, qualities.
Benedetto Ferrari’s triple-time, ‘Voglio di vita uscir’
(‘I want to depart this life’) introduced us to the Italian court
musician, librettist and theorbo player’s penchant for the chaconne bass.
Davies’ fresh, unaffected voice moved effortlessly between registers,
particularly in the expressive recitative with which the song closes.
In ‘Figlio dormi’ (‘Sleep son’) by Giovanni Girolami
Kapsberger — a celebrated virtuoso on the lute and theorbo —
accompanist Richard Egarr’s gentle introduction and delicate instrumental
episodes summoned to mind the affectionate, tender strumming of the lute.
Embellishments were relished by both performers, and perfectly judged. This
traditional ‘Ninna la nanna’ lullaby charmed and calmed; in
contrast, the continuous, oscillating, two-note motif which underpins Tarquinio
Merula’s ‘Canzonetta spirituale sopra alla nanna’ bewitched
and disconcerted, before the consoling serenity of the final major key
Listening to Richard Egarr’s accompaniments was the aural equivalent
of watching a painter at work. Relaxed and confident, instinctively attuned to
the ‘colours’ of each song, Egarr selected just the right tints and
shades from an extraordinarily rich palette of tones and textures. The ground
bass in Ferrari’s devotional cantata, ‘Quest pungenti spine’
was superbly realised; the surprising dissonances between voice and harpsichord
were piquantly emphasised but never exaggerated. Davies’ breath control
is extraordinary and was on display in a variety of contexts: in the
extravagant vocal gymnastics of the more elaborate coloratura episodes of
cantatas by Porpora and Vivaldi; in Antonio’s Cesti’s intricate,
freely exploratory lines in ‘Disseratevi, abissi’ (‘Gape
open, ye abysses’); and also here in Ferrari’s long-held, tender
opening notes. From the initial lyrical tranquillity, the countertenor found
just the right sentiment of yearning and ‘sweet torment’, building
as the lines become more florid and impassioned, to an ecstatic conclusion:
“my Lord and God;/ they are the divine arrows/ that, softened and
tempered/ by heaven’s fire/ attract and delight — ”. The
chaconne bass is interrupted four times by recitative refrains, and the
performers’ mastery of the formal structure more than matched their
command of musical detail — and their delight in the harmonic
The second half saw us on the more familiar terrain of the eighteenth
century. In Porpora’s cantata, ‘Oh se fosse il mio core’
(‘Ah, if only my heart’), Davies revealed his dramatic poise,
moving effortlessly between the moods of the successive recitatives and arias.
Vivaldi’s ‘Pianti, sospiri’ (‘Weeping, sighing’)
drew forth the peaks of Davies’ technical armoury — his projection,
pacing, ornamental invention and virtuosic elasticity quite simply took
one’s breath away. However complicated the line, the voice remained
unhindered and light.
In between the vocal treasures, Egarr offered readings of
Frescobaldi’s ‘Se l’aura spira’ and ‘Capriccio
sopra Ut re mi fa sol la’, and Handel’s Suite in D (HMV428),
exploiting texture to create a remarkable ‘dynamic’ variety; the
pianissimo passages were particularly beautiful. Expertly shaping
harmonic sequences and cadences, Egarr assembled the architectural forms of
Handel’s Suite like a master builder.
The encores — an athletic showcase from Partenope and the
lovely Irish folksong, ‘She Moved Through the Fair’ —
demonstrated the performers’ unpretentious, genuine and infectious joy in
the music and its performance. This recital celebrated Director John
Gilhooly’s 10 years at Wigmore Hall. He could not have wished for a more
glorious musical tribute.
Ferrari‘Voglio di vita uscir’
Kapsberger ‘Figlio dormi’
Frescobaldi Toccata Settima from Il secondo libro (solo harpsichord)
Frescobaldi ‘Se l’aura spira’
Ferrari ‘Queste pungenti spine’
Frescobaldi ‘Capriccio sopra Ut, re, mi, fa, sol, la’ (solo
Cesti Selino’s Lament: ‘Disseratevi, abissi’ from
Merula ‘Canzonetta spirituale sopra alla nanna’
Porpora Cantata: ‘Oh se fosse il mio core’
Handel Suite No.3 in D minor HWV428 (solo harpsichord)
Vivaldi Cantata: Pianti, sospiri e dimandar mercede