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

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 22nd October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

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

OPERA TODAY ARCHIVES »

Performances

Andreas Scholl
09 Jun 2011

Andreas Scholl, Wigmore Hall

A capacity crowd at the Wigmore Hall eagerly awaited the arrival of Andreas Scholl and Tamar Halperin on the platform on Tuesday evening.

Andreas Scholl, Wigmore Hall

Andreas Scholl, countertenor; Tamar Halperin, harpsichord/piano. Wigmore

 

A capacity crowd at the Wigmore Hall eagerly awaited the arrival of Andreas Scholl and Tamar Halperin on the platform on Tuesday evening. Given the famed serene beauty of Scholl’s countertenor, the programme of mostly slow, contemplative songs from sixteenth- and seventeenth- century England, followed by simple canzonettas by Haydn and folksong arrangements by Brahms, promised great delights

However, Scholl took some time to settle down. Purcell has formed a staple element of his concert programmes and recordings of recent years, and he is renowned for the quiet, controlled restraint which so much of this repertoire demands; yet, the opening two songs suffered from a rather constricted, thin tone and a few problems with intonation. ‘Music for a while’ epitomises the composer’s deep, reflective style, characterised by a controlled simplicity which calls for clarity of line and carefully, flowing phrases. One would expect Scholl to effortlessly deliver the goods, but in contrast to the dark, expressive elaborations of Israeli harpsichord Tamar Halperin’s introductory harpsichord realisation, the vocal line rather lacked shape and focus, the phrases disrupted by exaggerated by over-emphasis on textual repetitions.

Scholl’s diction was also quite poor with consonants and vowels all sounding rather similar. Although it did improve as the evening progressed, he did not ever quite capture the subtleties of the texts, the rich suggestions latent in its metaphors and understatements — as in, for example, Johnson’s ‘Have you seen the bright lily grow/ Before rude hands have touched it?’ The exclamatory flourishes of ‘Sweeter than roses’ did, however, demonstrate his theatricality as the striking textual images triggered rapidly changing vocal moods, complemented by varied accompanying textures.

The first instrumental item completed this Purcellian group. Halperin’s rendering of ‘Round O’ was delicate and restrained; thoughtful ritenuti in the variations made the restatements of the theme seem relaxed and inevitable. Later, the slow movement of Handel’s F Major suite was similarly affective; the repeated middle-register chords above which the ornate stream of melody unfolds were evenly and carefully placed, a ceaseless, sustained bed of sound for the decorative figurations above. One longed for several more movements from this work.

Scholl continued with repertory by lutenists associated with the Elizabethan and Stuart courts — John Dowland, Robert Johnson and Thomas Campion. Here there was more attention to the small details in the texts: in ‘Sorrow, stay’, Scholl’s gentle tone brought out the quiet despair of phrases such as ‘Mark me not to endless pain’, and some simple word-painting was made more pungent by oppositions of major and minor tonalities. The energy and optimism of ‘Say, Love, if ever thou didst find’ introduced a welcome contrast to the melancholy mood. Campion’s ‘I care not for these ladies’ was the most bright and fresh of these songs, as Scholl really engaged with the narrative, subtly changing tempo, pausing or altering emphases to convey the wit and humour of the text. The cry — ‘forsooth: let go!’ — of the girl who is courted and kissed by the poet-speaker, was at first one of denial, then lacked conviction, and finally seemed decidedly inviting!

A return to Purcell brought the first half to a close, and the sensuous sentiments of ‘O solitude’ brought forth a greater range of colour from Scholl, as he shaped the wide ranging phrases effectively, making expressive use of his dark-hued lower register.

After the interval, Scholl seemed more relaxed and the songs by Haydn and Brahms were eloquently delivered. The simplicity of Haydn’s three canzonettas was enlivened by the light, playful accompanying gestures which Halperin, now seated at the piano, introduced, and she demonstrated a similar understated restraint and firm appreciation of classical balance and form in the composer’s Sonata in A, the movements propelling ceaselessly forward into one coherent whole. In the ornate triplets of the Andante, Halperin sustained the evenness of the continuous flowing line while shaping individual motifs with grace. Subtle manipulation of the tempo deepened the expressive power of the minor key Trio in the Minuet, before a rapid alleviating of mood in the jovial Finale.

Scholl seemed most at home in four folksongs selected from Brahms’ Deutsche Volkslieder. In ‘Guten Abend’ he effectively conveyed the tension between the two voices, ‘Er’ and ‘Sie’, engaged in an awkward discussion about love. A similar opposition in ‘Es ging ein Maidlein zarte’ (A tender maid went out’) was further enhanced by the contrasting accompanying textures, rich chords conveying the natural world in which the ‘cheerful healthy maiden’ delighted, being juxtaposed with low halting, hollow octaves. Halperin brought much insight to these rich accompaniments, and also showed great invention in the improvisatory accompaniments to the three English folk-songs which concluded the recital. Now fully at ease, Scholl’s warmer and more relaxed tone led to increased textual clarity, which in turn helped him develop a closer relationship with the audience.

Indeed, throughout the performance Scholl sought to engage directly with his listeners, frequently prefacing the songs with explanations and introductions. Occasionally this destroyed the continuity of mood that the music itself established, however; and, similarly, there was rather too much to-ing and fro-ing between items, as the performers left and re-entered the stage when they were not themselves performing.

There was even some audience participation — not a regular occurrence at the Wigmore Hall! — when, before the interval, Scholl invited us to join in with the refrain of Purcell's ‘Man is for the Woman Made’, in which he himself deployed his conventional tenor register. According to his preamble, Purcell intended the song to provide some light relief for the original theatre audiences. A little surprised, but delighted by the invitation, the Hall proved in fine voice. Indeed, the recital had begun rather unconventionally when one rather exuberant member of the audience greeted the appearance of their ‘idol’ with football-crowd style whooping — possibly the first time such ‘unmusical’ sounds had been heard inside the hallowed walls of the Hall? The more familiar appreciative cries of ‘Bravo’ brought the evening to a warm conclusion.

Claire Seymour

Programme:

Purcell: Music for a while; Sweeter than roses; Round O
Dowland: Sorrow, stay, lend true repentant tears; I saw my lady weep; Say, Love, if ever thou didst find
Handel: Two movements from Suite No.2 in F
Johnson: Have you seen the bright lily grow?
Campion: I care not for these ladies
Purcell: O solitude, my sweetest choice; Man is for the woman made
Haydn: Two English Canzonettas; Sonata in A HXVI:12
Brahms: Four folksongs arranged from the Deutsche Volkslieder
Three Traditional Folksongs: I will give my love an apple; O waly waly; My love is like a red, red rose

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):