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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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!