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

Johannes der Evangelist auf Patmos by Hieronymus Bosch
27 Aug 2011

Franz Schmidt’s The Book with Seven Seals at Grant Park

In keeping with the festival nature of the piece, the Grant Park Orchestra and Chorus, along with guest soloists and a guest chorus director, gave two performances of Franz Schmidt’s Das Buch mit sieben Siegeln on recent weekend evenings.

Franz Schmidt: The Book with Seven Seals

Edith Lienbacher, Soprano; Christa Ratzenböck, Mezzo-Soprano; Robert Künzli, Tenor; Alexander Kaimbacher, Tenor; Albert Pesendorfer, Bass. Grant Park Orchestra. Grant Park Chorus. William Spaulding, Guest Chorus Director. Carlos Kalmar, Conductor.

Above: Johannes der Evangelist auf Patmos by Hieronymus Bosch

 

Carlos Kalmar conducted his forces with the intensity needed to retain the devotional focus and tension throughout the lengthy work. In the extended and demanding role of Saint John the tenor Robert Künzli gave a riveting performance of vocal and dramatic strengths. Participating in various solo and ensemble parts the well chosen cast was made up of soprano Edith Lienbacher, mezzo soprano Christa Ratzenböck, tenor Alexander Kaimbacher, and bass Albert Pesendorfer.

The orchestral prelude to Schmidt’s composition returns, as appropriate, at the close in one of several musical gestures underlining the cyclical nature of the work. In much the same way, the vocal declamations and variations on these are performed in complementary passages near the start and at the end of the work. In the role of both introducing and concluding the piece Künzli’s unflagging Saint John called upon his listeners to recall the sacrifice of Christ. Further, he announced that revelations concerning the end of the world would truly come to pass. Künzli’s approach was at times dramatic and ringing in delivery, whereas at others he used a lighter tone on softer intonation (e.g., the word “gewaschen” [“washed”] in “Der uns geliebet hat und gewaschen von den Sünden” [“He who loved us and washed us from our sins”]). In the role of the Lord’s voice Pesendorfer gave a consistently strong impression in vocal flexibility. His extended mid-range notes on “Ich bin das A und das O” were followed by exhortations to approach the heavenly throne with well projected articulation on low bass notes. After this declaration from above Saint John described the heavenly throne with Künzli achieving specific emphasis on the dramatic “Donner und Stimmen” (“thunder and voices”). As he concluded this description with rapid tempos on “einem fliegenden Adler” (“a flying eagle”), the remaining “Wesen” or “beasts” were enumerated in their positions surrounding the heavenly throne. At this point the additional soloists are first heard as part of a quartet in the parts of the beasts. The soprano, mezzo-soprano, and tenor were joined by Pesendorfer in the quartet as Kaimbacher’s emotive tenor called memorably the holiness of the Lord. For the remaining portions of the prologue the Chorus and Saint John, alternating with the other soloists, introduced the substance of the Book with its seals, the concept of sacrifice, and the preparations to open the Book and announce its revealed wisdom.

Just as the first mention of the Book in the Prologue was heralded by the accompaniment of the organ, Part I and Part II of Schmidt’s work are both introduced by extended organ solos. As each of the first six seals of the Book is opened in Part I, a symbolic figure occurs together with descriptive events on the earth. The Grant Park Chorus, first as a whole and then divided into groups, communicated in their well-rehearsed performance the fate of individuals as the firs two seals released the white and red horses of the apocalypse. Male and female groups of the Chorus conveyed the violent ravages and the intense suffering as a result of war and its devastations. Künzli’s moving summary that “Hölle folgte ihm nach” (“Hell followed after him”) brought a transition to the third seal or the black horseman of hunger. Pesendorfer’s solo in this role introduced a duet for mother and daughter. Ms. Lienbacher and Ms. Ratzenböck sang here with especially effective, merging vocal lines, so that the pain and desperation of human needs were touchingly communicated. After Saint John declared the fourth seal opened, and the pale horse of death was announced, the two male survivors sang that in death they are brothers. Kaimbacher and Pesendorfer performed with fervor their individual parts of the complementary duet which coalesced in a Biblical quote that found both voices perfectly matched. For the earthquake associated with opening the sixth seal toward the close of Part I both Chorus and orchestra swelled into a crescendo ending on “O wer kann da bestehen?” (“O who will be able to stand?”).

The organ solo at the start of Part II has a more ominous tone than in Part I with, as played here, somewhat more pointed individual notes. In the introduction to Saint John’s announcement of the seventh and final seal being opened Künzli lavished emotional effects on his long monologue detailing the original battle between angels and dragon. Orchestral effects were carefully matched to vocal lines so that trumpet and percussion led to a message of judgment. The solo quartet “Wehe euch! Das vierte Wehe” (“Woe! The fourth sorrow”), as introduced by the bass and integrating the other voices skillfully, warns of the celestial lights being extinguished in preparation for the time of judgment. From here to the conclusion of Schmidt’s work the Chorus shares the sung pronouncements with Saint John and with the voice of the Lord. Saint John declares now that a second Book was brought forth, the “Buch des Lebens” or Book of Life, in which are listed those who will be saved. As Künzli reiterated this line with emotional emphasis on “Leben,” the series of repetitions commences which echo the start of the work. His further, emphatic treatment of the prophecy of “Worte” (“words”), as here most appropriate, led to a resolution with the Chorus on the word “Amen!” Chicagoans are fortunate to have heard performances of such commitment of Schmidt’s Book with Seven Seals. These concerts by distinguished soloists and the Grant Park Orchestra and Chorus under Kalmar will surely rank among the finest presentations of this masterpiece.

Salvatore Calomino

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):