12 Aug 2011
Gergiev conducts Wagner’s Parsifal
A handsome black steed bows its head, eyes open, peering into the darkness around it.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.