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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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