Recently in Performances
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
22 Dec 2011
Jonathan McGovern, Wigmore Hall
2011 has been a good year for baritone Jonathan McGovern: 2nd prize at the Kathleen Ferrier Awards, the Karaviotis Prise at the Les Azuriales Ozone Young Artists Competition, and the John Meikle Duo Prize at the Wigmore Hall/Kohn Foundation International Song Competition are just some of the awards he has garnered.
Indeed, with such an illustrious ‘trophy cabinet’, it’s hard to
believe that McGovern only graduated from the Royal Academy of Music this year
(with a distinction and the ‘Queen’s Commendation for Excellence’).
He certainly brought youthful vigour and ebullience to the Wigmore Hall,
bounding onto the platform to perform the seven Schubert lieder which opened
this Kirckman Concert Society recital. ‘Die Einsame’ (‘The solitary
man’) was suitably light and untroubled in spirit; in typical Romantic
fashion, the protagonist finds solace in the natural world, delighting in his
‘quiet rusticity’ as the chirps of the cricket break the silence. Pianist
James Cheung’s buoyant bass motifs captured the mood of cheerful ease, while
McGovern’s baritone rang out strong and clear, conveying the unflustered
confidence of the evening dreamer. ‘Der Strom’ (‘The river’) brought a
sudden change: rapid figuration in the piano, shifting harmonies and a
plunging, low vocal line suggesting the turbulence and yearning unfulfilment of
both the surging river and the poetic imagination. McGovern found it harder, in
this lower register, to match the shifting colours of the accompaniment’s
tones and shades; while his bass notes have focus and pleasing warmth, the
upper range of his voice has greater flexibility and variety of tone.
The simplicity and directness of ‘Minnelied’ (‘Love Song’) and ‘An
den Mond’ (‘To the moon’), suited him better, the strophic form and the
earnest, uncomplicated sentiments drawing forth an open, sincere sound and
excellent pronunciation of the texts. Cheung made much of the dancing left hand
rhythms of ‘An Sylvia’ (‘To Sylvia’), while in ‘Nachtviolen’
(‘Night violets’) he delicately crafted an intimate air for McGovern’s
rapturous homage to the velvet flower’s “sublime and melancholy rays”.
The sequence closed with ‘Bei dir allein’ (‘With you alone’); here
McGovern certainly brought youthful zeal to the energetic, expanding vocal
lines as the protagonist declares that “a youthful spirit swells within me/
[that] a joyful world/ surges through me”. Indeed, bursting impetuously back
onto the stage to receive his applause, the beaming baritone seemed fully
invigorated by the song’s elated sentiments.
A more sober, but no less charged and committed, performance of Benjamin
Britten’s String Quartet No.1 followed. The three upper strings of the
Barbirolli Quartet serenely placed the thrillingly high chord clusters which
commence the opening movement, beneath which cellist Ashok Klouda’s
beautifully shaped and resonant pizzicato fragments rang out richly.
The quartet created a satisfying drama of opposition — of tonality, texture
and tempo; dynamic rhythmic episodes interjected between moments of harmonic
stillness. The scherzo (marked by Britten ‘con slancio’ — literally
‘with a dash’) was fittingly reckless and spontaneous, the rhythmic
articulation and attack crisp and incisive. In the slow movement, a free
variation form in 5/4 time, viola player Alexandros Koustas projected a
exquisitely poignant high melodic line above the euphonious, still thirds of
the accompaniment. The dynamic counterpoint which launches the final movement
was a true dialogue between equals. The sense of overall form was superb, both
within and between movements, with the finale skilfully integrating and
developing previous heard motifs. This was an accomplished and extremely mature
performance of Britten’s youthful composition.
The second half of the programme brought baritone and quartet together in a
performance of Samuel Barber’s Dover Beach, a setting of Matthew
Arnold’s lament for the loss of Victorian certainty in the face of modern
doubt and despair. McGovern established a more sombre presence now, imbuing the
lyrical, unfolding vocal lines with emotional depth and sensitivity, while the
quartet conjured the lapping, eddying movements and fluctuating hues of the
sea. McGovern’s commitment to the text was sustained and intense, as he
sought to do justice to the composer’s detailed word painting, without
over-emphasis or undue theatricality.
Songs by Brahms and Wolf concluded the recital. Brahms’ brief ‘Es
schauen die Blumen’ (‘All flowers look up’) established a melancholy
which was deepened powerfully in ‘Verzangen’ (‘Despairing’), where
Cheung’s tumultuous figuration complemented and enhanced the confusion of the
protagonist’s heart. The piano also introduced the basic motif in ‘Über
die Heide’ (‘Over the Moors’), commencing with three detached rising bass
octaves, then a leaping descent, punctuated by low right hand chords -
dramatically evoking the echoing footsteps which resound across the moor as the
protagonist undertakes an autumnal journey into his memories.
‘Feldeinsamkeit’ (‘Solitude in an open field’) was a high point of
the sequence, the beautiful and extraordinary second stanza depicting the
thoughts of the dreamer lying in the grass, mood of transcendence and peace:
“Mir ist, also ob ich längst gestorben bin/ Und ziehe selig mit durch
ew’ge Räume.” (“I feel as if I had died long ago/ and I drift blissfully
with them through eternal space.”). McGovern maintained a quiet intensity
throughout, with only the briefest sweet swelling before the extended cadence
at the end of each strophe. The performers crafted a controlled but troubling
narrative of rootless nocturnal wandering in ‘Wie raffft ich mich’. (‘O
how I sprang up’). The final landscape of these Brahms’ lieder was the
graveyard scene of ‘Auf dem Kirchhofe’ (‘In the cemetery’): in the
final stanza the ‘Gewesen’ (‘departed’) on every grave was wonderfully
transformed into ‘Genesen’ (‘redeemed’). As the major tonality
‘reconciled’ the former minor mode, McGovern retained the poetic ambiguity:
are the dead ‘healed’ because they have been granted eternal life, or
because they no longer must suffer mortal life?
In four songs from Hugo Wolf’s Mörike Lieder, Cheung painted a
tapestry of many colours: first the piano’s crisp, high trills evoked the
weightless flight of the bee in ‘Der Knabe und das Immlein’ (‘The boy and
the little bee’), then deep tremolos sweeping upwards to high resonant chords
underpinned the lover’s upwards gaze in the final verse of ‘An die
Geliebte’ (‘To the beloved’) as he turns his eyes heavenward to witness
the stars that smile upon him and kneels to absorb their ‘song of light’.
McGovern achieved a rapt intensity here, the silvery tone of his upper range
wonderfully capturing the shimmer of the glistening nocturnal sky. The aptly
titled ‘Abschied’ (‘Farewell’) is the last of the Mörike
Lieder and the high-spirited, waltz-like account of the unanticipated
arrival and hasty departure of an over-eager critic restored the mood of
celebration and joy with which the evening began.