Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Anne Sofie von Otter [Photo by Mats Bäcker]
29 Apr 2011

Anne Sofie von Otter, Wigmore Hall

For the second time in a matter of just a few weeks, the Wigmore Hall audience were treated to an evening of seventeenth-century song and dance.

Anne Sofie von Otter, Wigmore Hall

Anne Sofie von Otter. mezzo-soprano. Cappella Mediterranea. Leonardo Garcia Alarcón: director, harpsichord, keyboard. Gustavo Gargiulo, cornet; Boris Begelman, violin; Stéphnie de Failly, violin; Andrea De Carlo, viola da gamba; Daniel Zapico, theorbo. Wigmore Hall, London, Thursday, 21 April 2011.

Above: Anne Sofie von Otter [Photo by Mats Bäcker]

 

After the exuberant, high-spirited performance of Magdelena Kožená and Private Musicke in March, Anne Sofie von Otter, accompanied by Cappella Mediterranea, presented a more restrained account, delivering a powerful, controlled expression of love and grief.

We began with a sequence of numbers from Monteverdi’s tale of faithful endurance, Il ritorno d’Ulisse. The dark, resonant bass registers of the opening Sinfonia, as the members of the Cappella, led by Leonardo Garcia Alarcón at the organ, skilfully improvised on what the score presents as a simple minor chord, aptly conveying Penelope’s distress and anguish as she waits languidly for the return of the eponymous hero. Von Otter remained seated at the commencement of ‘Di misera regina’ (‘The queen’s misery’), her grief subdued, the soft-focused, flexible melodic line revealing her weariness and quiet despair. Rising to stand for the more declamatory text, as the queen angrily accuses Ulisse of neglect, even betrayal, von Otter injected a bitterness into the recitative, complemented by the astringent tone of Gustavo Gargiulo’s cornett. The heavy, portentous organ suggested that Penelope may be right in her fears that her fate shall ‘never alter’; here, and throughout the recital, Alarcón was eager to give every textual nuance a musical shade, although I found the organ timbre a little too grave and sombre, and welcomed the light fleetness of the final section, ‘Torna il tranquillo al mare’ (‘Calm returns the sea’) during which the organ was silent.

Von Otter’s Italian was crystal clear, but the Camerata proved just as adept at communicating textual meaning. For, the sequence concluded with an instrumental interpretation of the returning sailors’ Act 1 song, in which they celebrate man’s power and freedom in the face of the indifference of the gods. The players’ ornaments and figurations responded expertly to the text, conveying energy and swiftness, driving forward through an exciting sequence of rising modulations.

In Barbara Strozzi’s ‘Che si può fare’ (‘What can one do’), von Otter was once again surprisingly restrained, remaining seated for this monumental lament, but she demonstrated an effortlessly lyrical beauty in the tender melismas, delicately and poignantly contrasting with some startling harmonic dissonances. A deeply intense sentiment was conveyed, enhanced by a spirited dialogue between the two violins and the marvellous realisation – expressive, intricate but never overwhelming – of the repeating ground bass by theorbo player, Daniel Zapico.

‘Sí dolce è’l tormento’ (‘So sweet is the anguish’) by Monteverdi followed, revealing the rich, burnished quality of von Otter’s lower range. She ventured a daringly hushed pianissimo and rubato in the closing lines, conveying the paradoxical ‘sweetness’ of her anguish: ‘Su, su prendi arco e faretra,/ Casto amore, e ‘l cor mi spetra’ (‘quickly, take your bow and quiver,/ chaste love, and melt my heart’).

Francesco Provenzale was one of the leading figures in the musical life of Naples during the seventeenth century. ‘Squarciato appena havea’, conventionally attributed to him, is a lament-cantata in the Roman style with seven popular songs breaking in at unusual points in the sequence of sections in a recitative style. It is a satire of Luigi Rossi’s famous cantata, ‘Un ferito cavaliero’, which tells the story of the death of Gustavus Aldophus, husband of Queen Christina of Sweden in Lünzen in 1632. The Queen seems to die at the end of each strophe, and the purpose of inserting popular songs which interrupt the lamenting recitative, seems to be to create paradoxical contrast; for the songs are children’s ditties and lullabies, well-known repertory for voice and guitar from the seventeenth-century. Von Otter relished the ironies, exaggerating the emotions – at times introducing a rough grain to her voice to contrast with more lyrical outbursts, elsewhere emphasising the remarkable chromatic inflections. Her rhetoricism and theatricality was complemented by the musicians, a melodramatic organ tremolo underpinning the Queen’s grief-stricken exclamation, ‘Il mio Gustavo è morto?’ (‘Is my Gustavus dead?’). Zapico’s ornamentation of the phrase, ‘Onde morta ed esangue la Regina’ (‘When the Queen is dead and lifeless’) was masterful, evoking a remarkable still languor. Von Otter even turned instrumentalist herself, shaking and striking a tambourine, stamping and clapping energetically to the sprung, syncopated rhythms.

While there was no doubting the sincerity of the musicians, and their delight in the material, or Von Otter’s expressive involvement, the first half of this recital did not quite tap the spirit of joie de vivre and impassioned emotion that these songs embody. She certainly inhabited the dramatic personae of the lyrics, but von Otter did not seem entirely at ease. Despite the swaying and clapping, a certain sense of freedom, even recklessness, which is elemental in these songs was absent – her invitation to the audience to join her in her percussive accompaniment to the final song was not heeded. In the instrumental numbers, von Otter stayed seated centre-stage, the focus of the audience’s eye, and perhaps this inhibited the musical brio of the performers. At times Alarcón’s vigorous direction of the ensemble seemed a little too effortful. Moreover, even allowing for the instability of these authentic instruments, there was an awful lot of tuning and re-tuning, at the start of each half of the recital, and between numbers, and this (together with an extremely long interval) hindered the creation of musical momentum and over-arching dramatic shape.

In the second half we moved gradually from Italy, through France, to England. Over the same chaconne bass previously heard in Strozzi’s aria, the instrumentalists interpreted the text of ‘Mio ben, teco il tomento’ (‘My beloved’) by Rossi, which led into Marc-Antoine Charpentier’s ‘Quel prix de mon amour’ from Médée. This is a beautiful account of the pain wrought by infidelity, and von Otter expertly conveyed Medea’s anguish, exploiting the poignant cadential appoggiaturas and fluctuating tempo to powerful expressive effect.

Some superb cornett and violin playing in an instrumental rendering of Ariel’s ‘Dry those eyes’ from The Tempest, by John Weldon, was followed by the vocal flourishes of Henry Purcell’s short recitative ‘Hark! how all things’ (from The Fairy Queen) and the diverse colours, textures and tempi of ‘From silent shades’, in which the distracted snatches of the songs of ‘Bess of Bedlam’ are presented in a mixture of popular and classical idioms. As in Provenzale’s cantata, von Otter enjoyed the dramatic and unconventional aspects of this song, playfully delivering the occasionally unaccompanied text: the juxtaposition of the painful chromaticism of Bess’s self-pity, ‘Cold and hungry am I grown’, with a headlong, joyful carelessness, ‘Ambrosia will I feed upon’, forcefully conveyed the protagonist’s instability and insanity.

Two arias by Handel, separated by an instrumental passacaglia, brought the recital to a close. In ‘Where’er you walk’ from Semele and ‘Ogni vento’ from Agrippina, von Otter showed her mastery of the opera seria idiom, wonderfully shaping the melodic line during the first statement of the text, subtly ornamenting and elaborating on its return. The audience response was ecstatic. But, despite the unquestionable technical and musical talents on display, I felt that at times during the evening the performance lacked the natural exuberance and unrestrained liberty that this music requires and inspires.

Claire Seymour

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):