Recently in Performances
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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.
16 Dec 2011
Anne Schwanewilms, Wigmore Hall
Combining innate musicianship and superb technique, Anne Schwanewilms showed once again that she can run the emotional gamut from light-hearted joy to deep anguish in this flawless performance with pianist, Charles Spencer.
The songs from Mahler’s Des Knaben Wunderhorn offered
Schwanewilms the opportunity to demonstrate a great range of characterisation
and dramatic situation, embracing intimacy and exuberance. She garnered a
surprising and delightful drollery in the opening ‘Um schlimme Kinder artig
zu machen’ (‘How to make naughty children behave’), her insouciant
‘cu-cuckoo’ ringing clear as a bell. Charles Spencer delivered the
accompaniment’s piquant chromatic inflections with a deft touch. The simple
folk-like ambience was sustained in the bucolic ‘Verlorne Müh’ (‘Wasted
effort’), as the shepherdess attempts to lure her mate, offering first to go
walking, then a ‘morsel’ from her basket and finally her heart. A glossy
tone and seamless, bel canto legato prevailed. I wondered whether that
this effortlessly fluency at times affected the clarity of diction; but the
German speaker accompanying me reassured me that Schwanewilms’ use of the
text was subtle but clear, and undoubtedly idiomatic.
In ‘Ablösung im Sommer’ (‘The changing of the summer guard’), the
cuckoo returned, this time evoked by the piano whose perpetuum mobile
signifies the evolutionary progression of the seasons — as the cuckoo sings
himself ‘to death’ and the nightingale assumes the mantle of summer’s
song-bearer. Both here and in the following ‘Ich ging mit Lust’ (‘I
walked joyfully’), Schwanewilms’ breath control was superb, enabling her to
shape extended rhapsodic lines; her velvet tone is a cloth of many colours, and
she captured the myriad hues of the natural world - the verdant softness of
the ‘green wood’, the silky sheen of the moon’s’ charming, sweet
Liszt’s setting of Hugo’s ‘Oh! Quand je dors’ permitted a brief
excursion into the French language, and Schwanewilms expressively and
convincingly responded to the text, before returning to her native tongue for
lieder from Schiler’s Wilhelm Tell, songs in which Liszt evokes the
Alpine landscape with grandeur and passion. The grassy lake in ‘Der
Fischerknabe’ (‘The fisherboy’) shimmered stilly, but as the waters lap
around his breast and call from the depth, increasingly impetuous scalic runs
in the piano conveyed the potency of his ‘bliss of delight’. ‘Horn
calls’ discreetly underpinned the beautifully resonant vocal line in ‘Der
Hirt’ (‘The shepherd’), and the juxtapositions of major and minor
tonalities enhanced the warm, tender ache in the voice. The more tempestuous
‘Der Alpenjäger’ (‘The alpine hunstman’), in which thunderous
tremblings accumulate, climaxed with a striking piano postlude. An intense and
impassioned setting of Heine’s ‘Loreley’ brought the Lisztian sequence to
a close, and enabled Schwanewilms once again to demonstrate her consummately
controlled delivery of narrative.
Four more songs from Des Knaben Wunderhorn followed after the
interval. ‘Scheiden und Meiden’ (‘Farewell and Parting’) presents a
broader emotional and dramatic canvas; the first stanza depicts the breathless,
theatrical departure of three horsemen who gallop through the gate beneath the
beloved’s watchful gaze, while second strikes a more poignant note, exploring
the pain and finality of departure and death. The power and precision of
Schwanewilms’s climactic high notes in the first part contrasted with the
final farewells, 'Ade! Ade!’, which she delivered in a loving, almost
The cuckoo and nightingale both returned for ‘Lob des hohen Verstandes’
(‘In praise of high intellect’), this time competing to be the prize
songster in a musical contest adjudicated by a donkey. Schwanewilms relished
the individual ‘voices’ given to each ‘character’, and concluded with
an alarmingly realistic ass’s bray! After the gentle ‘Rheinlegendechen’
(‘Little Rhine Legend’), in which the atmospheric rocking of the piano
accompaniment perfectly captured the lapping waters as they flow timelessly to
the ocean, in the final song from the sequence, ‘Wo die schönen Trompeten
blasen’(‘Where the splendid trumpets sound’) Schwanewilms displayed her
lustrous, rich tone to full effect, signifying a transition from the whimsical
naivety of Mahler’s early songs to the complex emotional profundities of the
composer’s five Rückert Lieder.
Here, Schwanewilms and her accompanist rose to majestic heights of
musicianship. The contemplative intimacy of ‘Liebst du um Schönheit’
(‘If you love for beauty’) was particularly stunning. Schwanewilms can
produce an effortless, floating line, spinning out a high thread of sound,
endlessly and ethereally until, almost weightlessly, the thrillingly tender
pianissimo disperses into the air. She balances eloquence and grace
with deep affective insight, as was supremely apparent in a spell-binding
rendition of ‘Um Mitternacht’ (‘At midnight’). Here, the sustained
focus of her lower range was in evidence, the controlled and crafted phrases
indicating the valiant endurance of the protagonist. The final song, ‘Ich bin
der Welt abhanden gekommen’ (‘I am lost to the world) probed expressive
depths, closing with a spine-chilling piano coda; the long silence which
subsequently embraced performers and audience alike was a testament to the epic
scale of the emotions evoked and communicated.
Schwanewilms seem to have it all: unfailingly precise intonation, a
polished, gleaming sound, almost superhuman breath control. She also has
considerable stage presence and self-assurance: utterly in command of the voice
and the material, she revealed a profound understanding of these songs while
retaining a sense of freshness and spontaneity. The communication between
singer and pianist, and with the audience, was sincere and generous. No wonder
the applause was rapturous.
Mahler — From Des Knaben Wunderhorn: Um schlimme Kinder artig zu
machen; Verlorne Müh; Ablösung im Sommer; Ich ging mit Lust.
Liszt — Oh! quand je dors; Lieder aus Schillers ‘Wilhelm Tell’; Die
Mahler — From Des Knaben Wunderhorn: Scheiden und Meiden; Lob des
hohen Verstandes; Rheinlegendchen; Wo die schönen Trompeten blasen. Five