Recently in Performances
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain. And, if the second half of the programme - 20th-century American classics with the odd folky diversion - did feel a little like a prolonged encore (which was followed by three further suavely delivered numbers complete with mischievous banter and musical high-jinks), this did not lessen the musical and theatrical accomplishment or the evident delight of the Wigmore Hall audience, although I confess to feeling a bit of a sugar-rush
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.
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.
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 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.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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.