12 Aug 2011
Gergiev conducts Wagner’s Parsifal
A handsome black steed bows its head, eyes open, peering into the darkness around it.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
A handsome black steed bows its head, eyes open, peering into the darkness around it.
This is the image chosen for the box cover of a new studio recording of Wagner’s Parsifal, from the Mariinsky Opera forces, led by Valery Gergiev. The somber beauty of the artwork, with lettering for the credits in shades of gray (except for the conductor’s name in white) captures both the admiration provoked by the quality of the performance inside, and some discombobulation provoked by the performance as well. For surely the animal most closely associated with Parsifal is a swan, and the corresponding color scheme would be white. So why this horse caught in ebony, as striking as it is? And under Gergiev’s leadership, why does Parsifal feel so tense and charged, with a strong forward momentum, yet also so barren of spiritual depth in the outer acts or sensuality in act two?
Gergiev’s conducting presents the score as a taut (though, of course, extremely elongated) rumination on pain and internal conflict. Of course, there is a lot of that in Parsifal, and so much of this performance works very well. But there is more in the music — the sick sensuality of act two and especially the tender reconciliation and redemption of the final act. Gergiev is less successful at conveying those qualities. The last chord of the score embodies this. Instead of gently ebbing, letting the tension flow away at the drama’s resolution, the chord lingers on in almost grim determination, and then suddenly cuts off.
It is, however, the outer acts that are most impressive, and much of the credit must go to the outstanding performance of René Pape as Gurnemanz. This character and his extended monologues can wear anyone’s patience down in any merely adequate performance. Such is the sheer tonal gorgeousness of Pape’s voice and the sensitivity and conviction of his line readings that Gurnemanz becomes what he is surely meant to be — the soul and essence of the opera’s world. Pape’s performance alone will make this set an essential listening experience for lovers of the opera.
The rest of the cast is strong but not at Pape’s level. Violeta Urmana as Kundry sings every note with beautiful control, but the underlying conflict of her character is not conveyed. In the lead role, Gary Lehman shows why his late-blossoming career found its most fertile soil in Wagner’s opera. His tenor has dark colors, yet still easily attains higher notes. He only lacks that elusive quality which makes a voice easily distinguished from all others. Evgeny Nikitin transmits the agony of Amfortas, while Nikolai Putilin’s Klingsor growls and cajoles with aggressive unpleasantness. `
The admirable packaging has a separate sleeve for each of the four discs. The booklet offers a guide for “Reading the Russian Libretto,” which is fascinating but somewhat confusing in its aim, as the libretto is also available in English, German and French, and surely those who opt for the Russian version already know how to read the language
The sound picture is beautifully captured, and overall this studio recording impresses. When Pape is singing, the selection for the cover of a dark steed makes sense — something noble, powerful, yet pensive and sad is captured inside. Touched with that greatness, this is a Parsifal deserving of attention.