Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
12 Jul 2011
Grant Park Music Festival, Chicago Commemorates Gustav Mahler
To commemorate the hundredth anniversary of Gustav Mahler’s death Carlos
Kalmar and the Grant Park Orchestra gave in early July two performances of Mahler’s Das Lied von der Erde featuring the vocal soloists Alexandra Petersamer and Christian Elsner.
The work by Mahler was preceded,
fittingly, by the Musique funèbre of Witold Lutoslawski, which had
originally been composed for the anniversary of Bartok’s death and first
performed in 1958. In its performance of the latter work written for string
orchestra the Grant Park Orchestra under Kalmar gave a seamless account of the
score. The somber introduction for cellos is followed by the gradual
introduction of other string groups. A foremost impression left by these
performances is the sense of symmetry in Lutoslawski’s “memorial tribute”
as the cello ensemble returns to close the piece in an audible mirror of its
opening. The four parts of the work entitled Introduction, Metamorphoses,
Apogee, Epilogue draw on varying sound palettes for individual and groups of
sting players. After the cellos are joined by the remaining strings, tempos
increase and allow for declarative statements performed forte. This
technique used in the two middle segments of the piece is varied by sections
played piano, where the basses used gentle bowing to touching effect.
In much the same way, fragments of melodies were played by individual groups,
the full melodies then growing into a perceptible unit as tempos accelerated
forcefully. A lush, neo-Romantic transition formed the bridge to the
conclusion, or Epilogue, as Kalmar led his players toward a dignified statement
of tribute with the individual strings dissolving into the inexorable return of
The performance of Mahler’s Das Lied von der Erde followed this
memorial piece without intermission. In the first of the six vocal parts,
“Das Trinklied vom Jammer der Erde” (“Drinking Song of Earth’s
Misery”), Mr. Elsner sang with lyrical and dramatic force from the start, as
he gave appropriate intonation to the word “klingen” (“resound”). In
the delineation of the “Lied vom Kummer” (“song of care”) Elsner’s
emotional line was matched by the distinctive solo for oboe. Decoration was
taken here as marked with the tenor’s melisma sung on “Fülle”
(“abundance”), so that the word as performed reflected its meaning.
Starting at this point the English horn solo in this performance lent a
complementary sense of melancholy to both the voice and recurrent notes of the
oboe. The concept of eternity, which recurs memorably in the final part of
Das Lied, is here broached, as the tenor contrasts duration and
mortality in “Firmament” and “Der Mensch” (“the heavens,” “You, o
mortal”). Here Elsner’s pitch was less distinctive, as the attack on
“Mondschein” (“moonlight”) and “Gräbern” (“graves”) was sung
with greater force than suitable.
The second song, “Der einsame im Herbst” (“The Solitary one in
Autumn”), introduced the performance of Alexandra Petersamer. From the start,
the security of the singer’s range assured poignant delivery of lines such as
“Vom Reif bezogen stehen alle Gräser” (“The blades of grass stand
covered with frost”). Here Petersamer’s voice rose from stirring low notes
to a bright top with focus on “Gräser” and, with parallel approach at the
close of the strophe, on “ausgestreut” (“scattered about”). When
Petersamer began the penultimate strophe in this brief segment, she sang the
line “Mein Herz ist müde” (“My heart is weary”) with the pitch toward
flat as an illustration of this emotional state. In “Ich hab’ Erquickung
not!” (“I need refreshment!”) she engaged in what approached a dialogue
with the low strings. As a final statement of yearning “Sonne der Liebe”
(“Sun of love”) was delivered by Petersamer with full and convincingly
In the two vocal parts at the center of Das Lied both singers and
orchestra responded to the challenges of tempo in their accomplished
performances. In “Von der Jugend” (“On Youth”) Elsner showed skillful
modulation as he wrapped the vocal line around accelerated playing. Just as
Kalmar’s masterful direction eased the orchestra’s pace at “Wunderlich im
Spiegelbilde” (“Wonderfully in the reflection”), the singer’s voice
showed a matching deceleration, only to conclude this song by reversing the
technique. In her medial song, “Von der Schönheit” (“On Beauty”),
Petersamer was equally impressive as her voice imitated the “caressing
gestures” of “Schmeichelkosen” as well as the sounds of youths riding
their steeds through branches along the river’s bank. In her approach to the
last strophe of this segment she used exquisite lyrical phrasing and
piano shading to communicate the yearning of the fairest maiden
looking after the youth as he galloped away. With tasteful decoration placed on
“Sehnsucht” (“longing”) and “ihres Herzens” (“of her heart”) a
secret melancholy brought the segment to its moving conclusion.
In his last selection, “Der Trunkene im Frühling” (“The drunkard in
Spring”), Elsner contrasted the emotional opposites of toil and torment with
the happy “cheerful day” (“lieben Tag”). After sorting through issues
of volume in the initial strophe Elsner came into his own at the line “Mir
ist als wie im Traum” (“It seems to me like a dream”). At the words
“schwarzen Firmament (“dark heavens”) and “betrunken sein” (“remain
drunk”) Elsner released powerful forte notes directly on pitch to
emphasize his persona’s resolve.
As the final and longest of the six parts of Das Lied Petersamer sang “Der
Abschied” (“Farewell”) with touching clarity of tone. After the
orchestral opening during which oboe, English horn and flute hint at departure,
Petersamer’s singing merged with the instrumental soloists to echo and to
enhance their mood. Her pure, high notes on “nieder” (“downward”) and
“Schatten” (“shadows”) emphasized the words’ true meanings by
contrast of vocal line. The ghostly pitches applied to “Hinter den dunkeln
Fichten!” (“Behind the dark pines!”) evoked an evening’s solitude in
nature coupled with a desire for companionship. While delineating the
atmosphere in the forest her lowest notes were fully audible as the orchestral
texture mimicked the sounds of birds. At this point Petersamer’s
diminuendo on “hocken still” (“crouch silently”) effectively
capped the emotive setting in nature. As her declarations on beauty echoed
earlier sentiments, an orchestral interlude extended the atmosphere with
notable contributions from the woodwinds and low strings. Petersamer’s
singing concluded the piece as the “Trunk des Abschieds” (“Cup of
Farewell”) began the future thematic wandering of the departing friend. The
singer’s elaborate, meaningful decoration executed on “einsam Herz”
(“solitary heart”) illustrated along with the concluding intonations on the
repeated “ewig” (“eternally”) that this was a performance of Das
Lied von der Erde in which text and music are ideally joined, where poetry
and song receive their due when performed with such significance.