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 Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

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.

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):