Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.