Recently in Performances
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
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.
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
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.