Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

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.

Purcell: A Retrospective

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.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

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):