Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

OPERA TODAY ARCHIVES »

Performances

Giuseppe Verdi [Source: Wikipedia]
01 Sep 2011

Verdi’s Requiem Closes Grant Park Festival

In its final performances of the Summer 2011 season the Grant Park Orchestra and Chorus along with guest soloists gave two performances of Verdi’s Requiem.

Giuseppe Verdi: Requiem

Amber Wagner, Soprano; Michaela Martens, Mezzo-Soprano; Michael Fabiano, Tenor; Kyle Ketelsen, Bass. Grant Park Music Festival. Grant Park Orchestra. Grant Park Chorus. Carlos Kalmar, Conductor. William Spaulding, Guest Chorus Director.

Above: Giuseppe Verdi [Source: Wikipedia]

 

The featured singers were Amber Wagner, soprano, Michaela Martens, mezzo-soprano, Michael Fabiano, tenor, and Kyle Ketelsen, bass. William G. Spaulding was the guest chorus director and the Grant Park Orchestra was conducted by Carlos Kalmar.

The first section of the Requiem was especially effective with Kalmar eliciting moving gestures from the cello section followed by the other strings with a gradually intensifying volume. The Grant Park Chorus set a dignified tone as piano segments alternated with vocal exhortations such as “Exaudi” (“Hear”). Noteworthy was the effect of legato singing so that the pace remained consistent up to the entrance of the soloists in this section. Each of the latter sang an introductory line on “Kyrie eleison” or “Christe eleison” with moving expressiveness. The blending of principal singers and chorus was established here for the balance of the work, so that neither dominated but rather all achieved an ideal synthesis.

The “Dies irae,” or second part, began with appropriate dramatic and percussive force before modulating to a more speculative and quiet section for the chorus. Trumpets were positioned on either side of the chorus above the stage in order to magnify the call to judgment. As the next part for bass and chorus, “Tuba mirum” (“wondrous trumpet”), followed seamlessly, Mr. Ketelsen released declarative and lyrically controlled reminders on “mors” and “natura” (“death” and “nature”). He followed these with a chillingly hushed piano on the repeated “mors” and low bass notes of warning on “stupebit” (“shall be stunned”). In the following section for mezzo-soprano and chorus, “Liber scriptus” (“a written book”), Ms. Martens sang with comparable feeling to announce the judgment. She used her upper register most effectively on words such as “Judex” and “judicetur” while singing a touching melisma on “proferetur” (“will be brought forth”). Between these parts for soloists and chorus Kalmar led the orchestra through reprises of the “Dies irae” motif with carefully measured tempos. In the subsequent appeal for pity shared by the four soloists and chorus Ms. Wagner sang a smoothly descending line punctuated with impressively soaring top notes. Mr. Fabiano’s accompanying soft notes sung on the repetition were equally effective. As a conclusion to this part Ms. Wagner performed the final sequence of “Salva me” with a memorable diminuendo.

In the succeeding “Recordare” duet for the women both Wagner and Martens excelled not only in their individual parts but also in blending their voices, for example, at “Juste judex” (“Righteous judge”). Martens sang here with well chosen vibrato so that her part was rendered with true pathos, while Wagner’s beautifully held pitch on “causa” (“the reason”) added to the prayerful effect. Just as sensitive to communicating text, Fabiano’s moving tenor “Ingemisco” which followed was one of the highlights of this performance. His rising notes on ”Mariam” and “exaudisti” (“you heeded”) were sung with convincing emotional fervor, underlined by ringing top notes directly on pitch for “in parte dextra” (“at Your right hand”). In the “Lacrimosa,” a section in which all four soloists have significant parts, the magnificent lines were produced with sensitivity to the appeal for rest and mercy. Following in the “Offertorio” both tenor and bass included decorative and well executed trills as an emphasis on “offerimus.”

The concluding segments of the Requiem, the “Sanctus,” “Agnus Dei,” and “Libera me” in this performance were significant for the interplay of orchestral and vocal elements. In the “Lux aeterna” the flute solo was distinctly present as Ms. Martens’s rising line was repeated at “lux perpetua luceat eis” (“may eternal light shine on them”). Ms. Wagner’s final solo in “Libera me” was dramatic as well as poignant. Her thrilling high notes resolved into a prayer to end the work with gentle orchestral accompaniment on its final note of supplication. Such a moving performance emphasized the devotional and musical strengths of Verdi’s religious masterpiece.

Salvatore Calomino

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):