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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.