Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

OPERA TODAY ARCHIVES »

Performances

Gustav Mahler
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 and 1880.

Brahms — Violin Concerto in D major, op.77; Mahler — Das klagende Lied (original version)

Christian Tetzlaff (violin); Melanie Diener (soprano); Anna Larsson (mezzo-soprano); Stuart Skelton (tenor); Christopher Purves (baritone); Theodore Beeny, Augustus Bell, Timothy Fairbairn, Thomas Featherstonehaugh, Matthew Lloyd-Wilson, Oluwatimilehin Otudeko (trebles); BBC Singers (chorus master: Stephen Jackson); Edward Gardner (conductor). Royal Albert Hall, London, 7 August 2011.

Above: Gustav Mahler

 

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 soloist.

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.

Mark Berry

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):