Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

Handel's first 'Israelite oratorio': Esther at the London Handel Festival

It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.

OPERA TODAY ARCHIVES »

Performances

Shui Lan [Photo courtesy of Shanghai Symphony Orchestra]
16 Mar 2011

Magnificent Mahler by Shanghai Symphony

It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.

Gustav Mahler: Symphony no. 1 in D major (the “Titan”); Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

Shanghai Symphony Orchestra. Shui Lan, conductor. Yang Jie, alto. Shanghai Orchestra Hall, March 12, 2011.

Above: Shui Lan [Photo courtesy of Shanghai Symphony Orchestra]

 

The bird calls of the First Symphony were unhackneyed, and those who recalled Mahler’s early programmatic references in the work to the awakening of spring — to fruits and flowers — found themselves in a magic garden for a program that combined the Wayfarer Songs and the four-movement version of the First Symphony. Even had it been performed in a Midwestern blizzard, however, this was Mahler that made one sit up and listen — and be grateful for a moving musical experience.

The Shanghai Symphony, which dates back to a municipal band in the 1870s, is today the outstanding orchestra of Eastern Asia. Under Music Director Long Yu it has toured Europe and the US and has even been heard at the movies on the sound track of Crouching Tiger, Hidden Dragon. Although it must be said that the SSO does not have the refined and mellow sound of many Western ensembles — the silvered strings and burnished brass, it has something of greater importance: the dedication of its instrumentalists and their full emotional involvement in what they are doing.

Guest conductor for Mahler was Chinese-born Lan Shui, currently music director of the Singapore Symphony and — since 1907 — chief conductor of the Copenhagen Philharmonic. Given the conductor’s adolescent mien, it is difficult to believe him old enough to have once been tutored by Leonard Bernstein at Tanglewood. In the States he has held positions with orchestras in Detroit, Cleveland, Baltimore and Los Angeles.

Lan Shui is elegant and unmannered and he knows his Mahler as if by instinct. His reading of the First Symphony was analytic, but never academic. He sensed in the score a narrative impulse, but knew how wrong it would be to make that into a romp through field and forest. And outstanding was his “feel” for the irony that gives the First that “there’s-more-here-than-meets-the-ear” sensation. He deliciously caught the tongue-in-cheekedness of the hoarse bass that leads to “Brother Martin” in the third movement, thus making clear that this is funereal music of quite a different color from that heard in the Fifth Symphony.

For even the still-youthful First can grow lugubrious in the hands of a conductor with no understanding of the many levels of the score. Thus it was no surprise when Lan Shui brought the horn section — bells up-turned — to its feet in the brass blast that concludes the First. This was exuberant Mahler.

China’s Yang Jie is a true alto with a radiant and resonant low register well suited to the Wayfarer Songs, on which Mahler worked in the years of the First Symphony. In the West she includes Carmen in her signature roles. Long gone is the day when Wayfarer with its story of unrequited love was consider male property — just as the outwardly maternal Kindertotenlieder were once assigned to female vocalists. With perfect German diction Yang Lie is totally at home in the cycle with its shifting moods, its light and dark moments.

The quality of the March Mahler was undoubtedly enhanced by the presence in the orchestra of all four members of the Shanghai String Quartet. Founded in the city three decades ago and now on the faculty of the local conservatory, the four men enjoy “sacred-cow” status in Shanghai. When in town they teach at the Conservatory from which they graduated. (In the States they are in residence at New Jersey’s Montclair State University.) First violinist Weigang Li served as concert master on March 12.

Although the Shanghai Concert Hall, the orchestra’s local home, was built by a Chinese architect in 1930, it would be at home next door to Vienna’s gilded Musikverein or any of the historic halls of Europe that have survived. The hall — 1200 seats seems a good guess at its size — was reopened in 2004 following total reconstruction. It is acoustically sound, and generous lobbies opened onto balconies on a mild March evening. It is close to downtown, and taxis at a flat rate of 12 Yuan — no tips! — abound.

It would be presumptuous for a first-time concert goer in China to draw sweeping conclusions from a single experience. Nonetheless certain things were happily obvious. The concentrated — indeed, devout — attention that the Chinese bring to music is astonishing. Barely a muscle moves; even breathing seems hushed. There is absolutely no applause between movements, and the standing ovation now near-obligatory in the West is absent in Shanghai. Enthusiastic applause continued until conductor took concert master by the hand and left the stage.

The college-age set is a far larger part of the Shanghai audience than it is in the States — explained in part perhaps by the fact that the city boasts China’s major conservatory. And dress? As in almost all countries today one comes as one is. The “little black dress,” if China ever had one, has gone the way of the Mao jacket!

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):