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

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

OPERA TODAY ARCHIVES »

Performances

Bernarda Fink [Photo by Klemen Breitfuss courtesy of machreich artists management gmbh]
16 Dec 2011

Bernarda Fink, Wigmore Hall

The Wigmore Hall marks the 75th anniversary of the death of Maurice Ravel with a series of concerts that run through to June 2012.

Bernarda Fink at Wigmore Hall

Bernarda Fink, Christopher Glynn, Adam Walker, Marie Bitlloch. Wigmore Hall, London, 14th December 2011.

Above: Bernarda Fink [Photo by Klemen Breitfuss courtesy of machreich artists management gmbh]

 

Mixing piano song with chamber music, Bernarda Fink’s recital titled “Une rare émotion”, placed Ravel’s vocal music in the context of his era. That “rare emotion” was a search for alternatives to mainstream culture, exemplified by exotic, alien places. While British colonialism belittled other cultures, the French saw in “orientalism” potential for creative growth. Ravel’s fascination with non-western concepts wasn’t effete, but an act of affirmative courage.

Bernarda Fink began her recital with Ravel’s Cinq mélodies populaires grecques (1904-6). Their simplicity is deceptive for they represent a very different aesthetic to the often florid fin de siècle lushness popular at the time. Perhaps it’s significant that the poet who wrote the texts, Michel-Dimitri Calvocoressi, persuaded Ralph Vaughan Williams to study with Ravel instead of with Vincent d’Indy. Fink and Christopher Glynn, her pianist, are right not to overdo the folk origins of these songs, for they herald Ravel’s later work, like Rapsodie espagnol and even Boléro. Perceptively, Fink and Glynn juxtaposed these songs with Debussy’s Chansons de Bilitis, written only 5 years previously, preceding the languid sensuality of La Flûte de Pan with Camille Saint-Saëns Une flûte invisible (Flautist : Adam Walker)

Moire stellar, however, was Fink’s performance of Ravel’s very early Shéherézade (1903). “Asie, Asie, Asie”, she sang, her voice glowing with excitement, “Vieux pays merveilleux des contes de nourrice”. Then, she intoned the words “Je voudrais voir des assassins souriant”, almost parlando, hinting at menacing mysteries”. Emotional extremes and daring — Ravel was by no means as mannered as the dandy image he presented.

Jules Massenet’s Élégie (1872) was a reminder of the French Romantic tradition, here transcribed for cello (Marie Bitlloch) which nicely complimented Fink’s lower register. The highlight of the evening, nonetheless, was Fink’s performance of Ravel’s Chansons madécasses (1926). This is Ravel’s exoticism in full glory. Fink’s singing took on a shimmer that brought out the suppressed erotic tension. Her Aoua! was spectacular, vibrant with horror. “Méfiez-vous des blancs, habitants du rivage”, she sang. Beware of the whites, who make enticing promises, but bring carnage. The violence is even more terrifying when Ravel follows this outburst with Il est doux. A man is sitting under a palm tree, a woman is preparing his meal. The music lilts languidly. But who is the man, and who is the woman? After Aoua!, we should beware. Ravel is provocative. Exoticism isn’t safe.

Fink and Glynn sang Debussy’s Trois mélodies de Paul Verlaine (1891) and a selection of Fauré songs from his op 39 and 76, including the lovely Les roses d’Ispahan which often makes me swoon, but after that Aoua! anything but Ravel seemed tame. Glynn’s transcription of Poulenc’s Priez por paix, for voice, piano, flute and cello ended the evening on a more soothing note.

Anne Ozorio

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):