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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
09 Mar 2011
Luca Pisaroni at the Wigmore Hall, London
After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital.
Extremely erudite choice of programme too. When Pisaroni started singing, it fell into place. He’s primarily an opera singer and a specialist in Italian repertoire, Mozart and baroque. He even grew up in Busseto, Verdi’s birthplace, so he could coast to the top “to the manner born”.
So the fact that he chose an unusually intelligent programme says a lot about his versatility and musical instinct. He’s also smart enough to have figured out the Wigmore Hall ethos. Although the auditorium wasn’t full, those who were there were the real cognoscenti, serious listeners who really appreciate good singing (and good programmes). Some of them are getting on in years and don’t get out as much as they used to, so the fact that they were there is a huge compliment to Pisaroni.
And Pisaroni delivered! Schubert wrote several operas in Italian, but instead of singing “bleeding chunks”, Pisaroni picked Drei Gesänge D902 (Metastasio, 1827), which look like excerpts but were written as stand-alones. This integrity brings them closer to Schubert’s song repertoire. They’re Italianate but Schubert’s Austrian aesthetic is clearly distinct. Pisaroni placed the last song in the group first, Il modo di prender moglie (How to choose a wife — for money!), which was a good idea. It’s a strophic comic ballad which doesn’t make great demands — lulls you into forgetting who the composer might be. Then, the first song L’incanto degli occhi (The magic of eyes) where the true Schubertian voice is unmistakable. What a witty juxtaposition! Pisaroni not only has an amazingly good voice, but musical intelligence, too. Then you appreciate the humour in Il traditor deluso (The deluded traitor) which isn’t morbid, despite the title. When Pisaroni sang “Ove son io?” (Where am I?), he repeated it cryptically, I had a vivid mental image of Schubert, frustrated by having too little success in a genre he needed to master if he’d compete with changing fashions.
Hence, Rossini. Again, Pisaroni chose songs rather than bits from popular operas, to connect better with Schubert. Pisaroni is a bass baritone, so the darker timbres were extremely beautiful, but the voice is agile and flexible, so the transits upwards come with ease. Truly a gorgeous voice, full of nuance and colour.
Franz Liszt wrote transcriptions of Schubert’s songs which are still popular today, though they sound much more Lisztian than Schubertian. They’re florid, as if Liszt can’t quite get the Lieder aesthetic and submerges it in too many notes. That’s fine, they’re different composers. Liszt also knew Schumann, the “new music” of the 1840’s. There are well over 70 Liszt songs for voice and piano, but Pisaroni again chose thoughtfully. Two settings of Heine, one of which, Im Rhein im schönen Strome is indelibly associated with Dichterliebe and Schumann. Liszt’s S272 (1855) is a more studied piece, reflecting a different approach to song, which is quite distinct, though the text in the last verse demands similarly strong phrasing.
Pisaroni and Rieger followed with three songs Schumann didn’t set, to emphasize Liszt’s unique style. There are vaguely Schumannesque passages in the piano parts, though Liszt doesn’t write extended preludes and postludes. Der Vätergruft (1844, Uhland) displays Liszt’s gifts as dramatist. The ghost of a knight joins his ancestors in their tomb. “Die Geisterlaute verhallten, da mocht es gar stille sein” (Ghostly sounds fade and silence reigns again). This could almost be a song without words, it’s so effective.
This extremely well planned recital ended with Liszt’s Tre sonetti di Petrarca S270 in the version for baritone and piano. Liszt as pianist triumphs. This isn’t Germanic Lieder by any means but completely unique. Reiger played with great delicacy, matched by Pisaroni’s sensitive modulation. His Benedetto sia’l giorno is truly a love song. He lingers gently on the words “E i sospiri e le lagrime” so they feel like a gentle caress. An exquiste recital wonderfully realized. Next time Pisaroni appears, there should be queues around the block. He’s singing Argante in Handel’s Rinaldo at Glyndebourne this summer with Sandrine Piau, who did fascinating programme of Schubert transcriptions last week. (See review here) So we’ve heard both Pisaroni and Piau in two unusual recitals in the same week at the Wigmore Hall. Brilliant!