Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.
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
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
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!
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!