Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The Schumanns at home: Temple Song 2018

Following their marriage, on 12th September 1840, Robert and Clara Schumann made their home in a first-floor apartment on the piano nobile of a classical-style residence now known as the Schumann House, on Inselstraße, just a short walk from the centre of Leipzig.

Bartók’s Duke Bluebeard’s Castle at the Barbican

Two great operas come from the year 1911 - Richard Strauss’ Der Rosenkavalier and Bela Bartók’s Duke Bluebeard’s Castle. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories.

Puccini’s Tosca at the Royal Opera House

Now on its ninth revival, Jonathan Kent’s classic Tosca for Covent Garden is a study in art, beauty and passion but also darkness, power and empire. Part of the production’s lasting greatness, and contemporary value, is that it looks inwards towards the malignancy of a great empire (in this case a Napoleonic one), whilst looking outward towards a city-nation in terminal decline (Rome).

ROH Announces 2018 Jette Parker Young Artists

The Royal Opera House has announced the five singers who will join the Jette Parker Young Artists Programme in September, selected from more than 440 applicants from 59 countries.

The Epic of Gilgamesh - Bohuslav Martinů

New recording of the English version of Bohuslav Martinů's The Epic of Gilgamesh, from Supraphon, the Czech Philharmonic Orchestra conducted by Manfred Honeck. This is the world premiere recording of the text in English, the original language in which it was written.

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with the Stuttgart one: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

ROH Return to the Roundhouse

Opera transcends time and place. An anonymous letter, printed with the libretto of Monteverdi’s Le nozze d’Enea con Lavinia and written two years before his death, assures the reader that Monteverdi’s music will continue to affect and entrance future generations:

London Schools Symphony Orchestra celebrates Bernstein and Holst anniversaries

One recent survey suggested that in 1981, the average age of a classical concertgoer was 36, whereas now it is 60-plus. So, how pleasing it was to see the Barbican Centre foyers, cafes and the Hall itself crowded with young people, as members of the London Schools Symphony Orchestra prepared to perform with soprano Louise Alder and conductor Sir Richard Armstrong, in a well-balanced programme that culminated with an ‘anniversary’ performance of Holst’s The Planets.

Salome at the Royal Opera House

In De Profundis, his long epistle to ‘Dear Bosie’, Oscar Wilde speaks literally ‘from the depths’, incarcerated in his prison cell in Reading Gaol. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty.

In the Beginning ... Time Unwrapped at Kings Place

Epic, innovative and bold, Haydn’s The Creation epitomises the grandeur and spirit of the eighteenth-century Enlightenment.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

The Pearl Fishers at Lyric Opera of Chicago

For its recent production of Georges Bizet’s Les pêcheurs de perles Lyric Opera of Chicago assembled an ideal cast of performers who blend well into an imaginative and colorful production.

New Cinderella SRO in San Jose

Alma Deutscher’s Cinderella is most remarkable for one reason and one reason alone: It was composed by a 12-year old girl.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

La Cenerentola in Lyon

Like Stendhal when he first saw Rossini’s Cenerentola in Trieste in 1823, I was left stone cold by Rossini’s Cendrillon last night in Lyon. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.

Messiah, who?: The Academy of Ancient Music bring old and new voices together

Christmas isn’t Christmas without a Messiah. And, at the Barbican Hall, the Academy of Ancient Music reminded us why … while never letting us settle into complacency.

The Golden Cockerel Bedazzles in Amsterdam

Nikolai Rimsky-Korsakov’s fairy tale The Golden Cockerel was this holiday season’s ZaterdagMatinee operatic treat at the Concertgebouw. There was real magic to this concert performance, chiefly thanks to Vasily Petrenko’s dazzling conducting and the enchanting soprano Venera Gimadieva.

Mahler Das Lied von der Erde, London - Rattle, O'Neill, Gerhaher

By pairing Mahler Das Lied von der Erde (Simon O'Neill, Christian Gerhaher) with Strauss Metamorphosen, Simon Rattle and the London Symphony Orchestra were making a truly powerful statement. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message.

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

OPERA TODAY ARCHIVES »

Reviews

Frederick Delius: Brigg Fair and other works
23 Sep 2011

Beecham conducts Delius

Frederick Delius counts among those many composers whose reputations rely on their orchestral efforts, but who dearly wanted to make a lasting contribution to the opera repertory.

Frederick Delius: Brigg Fair and other works

Mezzo-Soprano: Maureen Forrester, mezzo-soprano; John Cameron, baritone. Royal Philharmonic Orchestra. Conductor: Thomas Beecham.

EMI Classics 0946532 [2CDs]

$10.94  Click to buy

Delius’s A Village Romeo and Juliet, however, rarely gets staged — while an excerpt, “The Walk to The Paradise Garden,” often appears on classical radio station playlists.

That particular piece does not appear on the two-disc set EMI Classics calls “Delius: Favourite Orchestral Works,” but the intermezzo from Fennimore and Gerda and the Irmelin Prelude made it. Perhaps EMI doesn’t have a recording of Sir Thomas Beecham conducting the “Paradise Garden” piece, as another name for this set could have been “Beecham Conducts Delius.” And that title would have been appropriate, for Beecham conducting Delius makes for delightful listening, whereas some other conductors with less sympathy for Delius’s sound world might have served up two and a half hours of string-heavy goop.

These late 1950s recordings come from an era of analogue warmth. They sound fine today — detailed, and yet not clinically cold, as too many digital recordings can be. And Sir Thomas brings his inimitable touch to each performance, with perfect tempo choices that never drag, yet never push forward aggressively. Delius could certainly write a fine tune (the Florida Suite is full of them) but atmosphere is what he really creates — languid, sensual, nostalgic. Of course, two and a half hours of that atmosphere will be more than most people need to experience in one sitting, and disc two begins to feel repetitive — “Didn’t we hear this selection on disc one?” No, but we can be forgiven for thinking so.

The set closes with orchestral settings of poet Ernest Dowson’s Songs of Sunset, for baritone and mezzo-soprano. Dowson is most known today for some phrases that entered the 20th century consciousness, such as the line “the days of wine and roses” from the last selection, “They are not long, the weeping and the laughter.” The diction and imagery now feel dated and stilted, and there should really be some variety to the dominating mood of forlorn sentimentality. But the piece could not hope for a better performance. John Cameron and Maureen Forrester sing in the best British oratorio tradition — on the credit side, that means disciplined enunciation and plaintive tone. Others will perceive the debit side, with the readings coming off as fussy and the tone a touch too fruity.

Any music library without some Delius, however, will be lacking a choice slice of early twentieth century music-making — the polar opposite of the Second Viennese school, or at least equatorially distant, as there is no frigidity to Delius at all. Such music libraries should snap up this budget EMI set of Beecham conducting much of the composer’s best music.

Chris Mullins

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):