Recently in Reviews
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
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
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.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
28 Sep 2011
Ioan Holender Farewell Concert
What better way for the long-reigning director of the Vienna State Opera, Ioan Holender, to celebrate the end of his time in the post than with a lengthy gala featuring such stars as Gergely Németi, Roxana Constantinescu, Krassimira Stoyanova, and Keith Ikaia-Purdy?
Perhaps some will say, a better way would be to also have Plácido Domingo, Leo Nucci, Anna Netrebko, and Thomas Hampson, among others, and sure enough, they appear as well. Actually, the mix of performers — from the most famous names to those of aspiring stars — makes the almost four hours two-disc set of the recorded gala distinguishable from the usual gala fare strictly limited to only the most well-established of performers. Nonetheless, Deutsche Grammophon could not resist giving the set the oddly-phrased subtitle of “A Benefit Gala with Opera World Stars.”
In terms of quality, the four hours steer a very erratic course. A listless Rienzi overture opens the evening, with Zubin Mehta the first of many conductors to pick up the baton in a sort of “conductor relay race” to the podium. The editing makes it impossible to tell if the performers are presented in their true order of appearance. Antonio Pappano has the baton next in the DVD, with Plácido Domingo signing “Winterstürme.” The great tenor is not quite warmed up, but the audience is grateful for his presence anyway. For the next several selections on disc one, the gala slowly slides into effortful mediocrity, with a not very impressive Nadia Krasteva lighting no fires in “Stride la vampa,” and the cellists seen behind her appearing to be a nod away from falling asleep at their instruments. Bertrand de Billy leads a truly unfortunate Hoffmann sextet, with intonation differences reaching Schoenbergian proportions. Two selections from Così pass unmemorably in the staid professionalism of Michael Schade and Barabara Frittoli, although Angelika Kirchshlager tries to liven things up. An unquestionably elegant tenor, Ramón Vargas simply doesn’t have the tenor juice to make a chestnut like Giordano’s “Amor ti vieta” really ring out, though he is in good form later for Roméo’s “Ah! lève-toi, soleil!.”
The first glimpse of gala greatness comes when Soile Isokoski appears, with the fresh choice of Agathe’s aria from Freischtuz. With pure tone and security of intonation, this singer, who can be an unprepossessing presence, shows what true artistry can do. Thomas Quastoff also offers an unorthodox selection, from Strauss’ Die schweigsame Frau, but the pleasure in hearing this rare but quite appealing aria is qualified by concern over the baritone’s difficulty with staying in tune, especially in his lower range. Waltraud Meier almost matches Isokoski’s success with an inspired “Mild und leise,” and there are very professional turns by Leo Nucci, Thomas Hampson and Diana Damrau, who closes the first disc. Of the lesser known names on disc one, the best impression is made by tenor Saimir Pirgu, who gets one of the very few Puccini selections of the night, taking on Rinuccio’s aria from Gianni Schicchi. He just needs to secure his very top notes to have a chance at reaching “Opera World Star” status.
Disc two starts off with Vargas and then an ensemble from Die Frau ohne Schatten that rivals the earlier Hoffmann selection for dismaying group intonation. This continues to be a problem with duets from Peter Seiffert and Petra Maria Schnitzer (“O sink herneider”) and Angela Denoke and Stephen Gould (from Korngold’s Die tote Stadt). The dependable Ferrucio Furlanetto brings his King Philippe — yes, in French — to the stage. It is a great piece, but at 10 mostly somber minutes, perhaps not the best gala choice. Johan Botha seems to be a Vienna favorite, as the response to his secure but unaffecting “In fernem Land” is much more energetic than his performance. That same audience — supposedly sophisticated — interrupts Anna Netrebko’s Manon showpiece twice with applause, in the same places where audiences always do. The rest of the disc two gathers steam, with Natalie Dessay, Piotr Bezcala, and Simon Keenlyside providing real star power.
Leo Nucci leads the not unexpected finale of the closing ensemble from Falstaff, after a brief speech from the guest of honor (who also opens the program with some words). Interestingly, the preceding two selections, at least as seen on the DVD, seem to throw a dark shadow on Holender’s perspective as he leaves this major position. First we have Loge teasing the Gods as they lose their power without the golden apples in Das Rhiengold, and then Keenlyside’s Macbeth, saying farewell to “Pietà, rispetto, onore.” Intention or coincidence? Only Holender can say.
Although as seen on DVD the gala evening cannot be called a huge success, this recording has value as a document of the state of today’s “World Opera Stars” and as a place to catch a handful of very fine performances — with “rispetto” and “onore” most deservedly going to Soile Isokoski.