Recently in Performances
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
14 Aug 2011
Prom 32: Brahms and Mahler
Brahms’s Violin Concerto and Mahler’s Das klagende Lied
did not seem to be the most obvious bedfellows — there has been some
rather peculiar programming at this year’s Proms — and even after
further consideration, the only real connection I could muster was that they
were written at the same time: the concerto in 1878, the cantata between 1878
At any rate, Christian Teztlaff gave a fine account of the former,
though he was not always matched by Edward Gardner’s conducting, which
was mostly unobjectionable — more than can be said for many examples
— but not especially rich in insight. The BBC Symphony Orchestra was
generally on good, if not infallible, form, its first movement contribution
more lyrical than stentorian. (A mobile telephone provided unwanted
interruption during the first exposition.) Teztlaff’s solo performance
was intensely committed, fiercely dramatic, and unwavering in intonation, the
cadenza (Joachim’s) providing both intimacy and direction. The opening of
the ensuing coda proved splendidly autumnal, though its conclusion was arguably
rushed by Gardner. Unwelcome applause intervened prior to a slow movement in
which Tetzlaff generally acted as first among serenade-like equals, the spirit
of Mozart undeniably present. Though the opening woodwind solos, especially
Richard Simpson’s oboe, were well taken, there was a sense that they
might have sung still more freely had Gardner moulded them less. That is a
minor criticism, however, for Tetzlaff’s sweet-toned rendition ensured
that the heart strings would be tugged where necessary, without the slightest
hint of undue manipulation. Gardner, to his credit, held the audience at bay
during the brief pause before the finale. Rhythms were well pointed here,
though there were times when the orchestra felt a little driven.
Tetzlaff’s musicianship and virtuosity were never in doubt; it would be
good to hear him in this concerto with a more experienced Brahmsian, such as
Bernard Haitink, Kurt Masur, or Sir Colin Davis. If anything even better was
his poised, thoughtful, richly expressive encore account of the Gavotte en
rondeau from Bach’s E major Partita. Not for the first time, the
smallest of forces seemed to project better than a typical symphony orchestra
in the problematic acoustic of the Royal Albert Hall.
Gardner fashioned a performance of Das klagende Lied that was more
‘operatic’ than benefits the music. Or, to put it another way, it
concentrated on highlighting of certain textual ‘incident’ and
artificially whipped-up excitement in a stop-and-start way that recalled Sir
Georg Solti (though I am not sure whether Solti conducted this particular
work). At least, though, we could hear vibrato-laden strings, a relief after
the horror tales of Sir Roger Norrington’s recent Ninth Symphony. The
orchestral introduction to ‘Waldmärchen’ was somewhat hesitant at
first, and then, as if to compensate, was fiercely driven. It eventually
settled, but the movement as a whole did not. The second stanza, though well
presented vocally and orchestrally, simply dragged, Gardner seemingly finding
it impossible to alight upon a just tempo. Uncertain brass slightly marred the
brothers’ entry into the forest, though tenor Stuart Skelton gave a good
sense of Mahler as balladeer. When, during the final two stanzas,
Mahler’s Wagnerian inheritance — Gardner seemed previously to have
done his utmost to make the composer sound closer to Verdi! — inevitably
came to the fore, whether through harmony, instrumentation, and vocal line, it
was almost a sense of too little, too late. Anna Larsson, a late substitution
for Ekaterina Gubanova, nevertheless proved a wonderfully rich mezzo
Intimations of the First and Second Symphonies in the introduction to
‘Der Spielmann’ came across clearly — how could they not?
— but, in Gardner’s hands, there was something unnecessarily
four-square to the phrasing. Christopher Purves, however, proved plaintive
indeed upon the words ‘Dort ist’s so lind und voll von Duft, als
ging ein Weinen durch die Luft!’, even though the pacing now had become
unduly distended. The first entry of the off-stage band sounded splendid in
itself, but Gardner struggled — and failed — to keep it together
with the ‘main’ orchestra. There were, happily, no such problems
later on. Tempi here and in the concluding ‘Hochzeitsstück’ veered
towards the comatose, however, interspersed with ‘compensating’
rushed passages. What should sound wide-eyed in its staggering youthful
ambition and accomplishment tended merely to sprawl. (Applause again intervened
between the second and third movements.) Choral diction was very good
throughout, though it would have done no harm to have had a larger chorus.
Treble voices touched in their fragility, helping to prove once again that it
is this original version of Das klagende Lied that has the superior
claim to performance. I cannot begin to understand David Matthews’s
programme note claim that the revised two-part version is
‘incontrovertibly tighter and arguably more effective’. If the
effect were somewhat sprawling, that was the fault of Gardner’s
performance, not of the work itself, which is a much better piece than this
evening’s audience may have been led to believe.