Recently in Performances
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
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.