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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.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
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.