Recently in Performances
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.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.