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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
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.
23 Jan 2012
Five Boroughs Songbook
What does it say about New York that, in the songs of the city commissioned by the Five Boroughs Music Festival and given performances in Brooklyn, Queens and, now, Manhattan, the poets (often the composers themselves) rarely refer to life in that central part of the city, Rodgers and Hart’s “isle of joy”?
These twenty songs by as many composers are largely concerned with the city as an abstraction, a beloved object, a universal core, or else they address the outer boroughs. Composers, poets, songwriters can no longer afford Manhattan perhaps. They live in Brooklyn’s lovely and not-so-lovely neighborhoods, or in the recuperating Bronx, or even Staten Island. They no longer even dream about Manhattan. Larry Hart wouldn’t recognize the place. Greenwich Village was not mentioned all evening—nor Chinatown, nor Harlem, nor even Inwood. Times Square, in Richard Pearson Thomas’s “The Center of the Universe,” was invoked to “remember the bad old days.” It is no use asking (though I do ask) how much longer New York will be “the center of the country, the world, the universe,” when none of the young, the adventurous, the energetic and creative immigrants can afford to live closer in than Bushwick or Newark.
This has an understandable effect on song output. In the gaudy days of Tin Pan Alley, songwriters stumped for inspiration could look out the window and come up with “Lullaby of Broadway” or “Way Out West on West End Avenue” or “When Love Beckoned on Fifty-Second Street.” But there is no Tin Pan Alley any more. Musically, there’s barely a Broadway. Few of the twenty composers on this program write that kind of theater (at least four of them have composed operas), but on this occasion they often seemed to channel the wisecracking New York wit and the nostalgic art largely missing from Broadway for the last generation. Requested by the Five Boroughs Music Festival to write about some aspect of New York, they have not been parochial in their choice of subject or text—some were old, some were modern, some were the composers themselves. Two of the songs were poems by the ever-exultant Walt Whitman, who retired in New Jersey but drew his universal point of view from his Brooklyn youth.
A lot of numbers in the Songbook boasted rumbling piano accompaniments to symbolize the constant basso continuo throb of the city. There were jazz inflections and dance rhythms, passing in and out of a song as if overheard while ambling by in the darkness. There were songs made up of fragments—fragments of overheard conversations, fragments of overheard melody (Harold Arlen, Giuseppe Verdi), fragments of dying or undying love affairs, fragmentary impressions of Brooklyn on a summer night or the odor of the garbage dumps on Staten Island, fragments of gnomic subway announcements.
Van Eyck, Guth, Richardson, McFerrin, Bagwell, Dueck and Rhodes
There seemed to be quite a lot of songs about the subway. Glen Roven’s “F from DUMBO” seemed to consist of glances at the crowds by a numbly daydreaming straphanger. Gilda Lyons’ “rapid transit” invoked and celebrated the whole crazy system, its changeable schedules and half-audible warnings. Tom Cipullo’s “G is for Grimy: An Ode to the G Train” celebrated (and trashed) the one line in the system that never enters Manhattan at all. John Glover’s “8:46 AM, Five Years Later” unsensationally presented memories of being caught on the N train beneath the city on the morning of 9/11. There had to be one such song, just one, and this was one’s felt unforced and meaningful.
Yotam Haber’s exquisite setting of “On Leaving Brooklyn” made the very syllables of Julia Kasdorf’s revision of Psalm 137 into musical tones, “borough” and “Babylon” and “Jerusalem” becoming harmonized values and nostalgic wisps of melody. Scott Wheeler’s “At Home in Staten Island,” from an old poem by Charles Mackay, became a parlor ballad concealing its ache in an old-fashioned tune. Mohammed Fairouz’s ambitious “Refugee Blues” (which describes a more general situation rather than one specific to New York), builds on W.H. Auden’s use of a repetitive, folk song-like refrain, to achieve a gathering power. Jorge Martin set Whitman’s “City of Orgies, Walks and Joys!” to an irresistible boogie-woogie rich with the delight of simply romping about the town, while a solo violin gave the fantasy a piquant turn by chiming in just “off” the harmonies we had been led to expect.
Harumi Rhodes was the violinist. The pianists, Thomas Bagwell and Jocelyn Dueck, were both fine, but Rhodes played with almost vocal inflections of intricate participation rather than accompaniment: the violin as lieder singer. This speaks well of the composers who provided for her as well as her own poetic technique.
The songs were arranged for four contrasting voices, and the program varied and balanced their duties. Soprano Martha Guth and mezzo Jamie Van Eyck partnered well in the deadpan wit of “rapid transit.” Guth, having plumbed near-alto depths earlier, suddenly became a high, keening opera soprano for the melancholy of “At Home In Staten Island,” mated here with Rhodes’s violin, and (on the other side of that large borough) deplored the air of Christina Courtin’s “Fresh Kills.” Van Eyck brought drama to the mourning, accusing “Refugee Blues” and wistfulness to Renée Favand-See’s “Looking West on a Humid Summer Evening,” and lightly aired the brittle wit of Gabriel Kahane’s “Coney Island Avenue.” Tenor Alex Richardson was the yearning, regretting lover of Russell Platt’s “The Avenue” and Christopher Berg’s “OuLiPo in the Bronx.” David McFerrin’s grainy baritone gave us Martin Hennessy’s love song to the mothering city itself, “The City’s Love,” partnered Guth in Ricky Ian Gordon’s setting of Whitman’s invocation, “City of Ships,” and quietly made the point of “8:46 AM.” Texts were provided but the diction of all four was impeccable in the intimate confines of the Baruch Performing Arts Center.
The Songbook was recorded at an earlier performance with different singers, and the two-CD set is available from GPR Records on the Five Boroughs Music Festival web site.
Click here to purchase the CD.