Recently in Performances
Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.
As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
25 Jan 2012
Prégardien at the Wigmore Hall
Hugo Wolf is a hard sell. Technical expertise isn't enough. The secret to singing Wolf is expressing the unique personality in each song. Wolf, perhaps more than any other composer, creates miniatures that open out into mini-operas when performed well.
Christoph Prégardien started off the Wigmore Hall’s new series of Hugo Wolf Songbooks with Lieder to texts by Mörike and Goethe. Prégardien is one of the best Wolf singers around, with the right combination of timbre and individuality. At his best, he’s brilliant. For whatever reason, on this occasion, he wasn’t his usual self, the voice sounding tired and occluded. Nonetheless, he has years of experience to fall back on. Intelligent phrasing, the right emphases in the right places, accurate intonation. Yet not the luminous, transcendent tones he’s capable of, which lift his performance way above most everyone else. Still, proof that mastery of technique pulls one through. His Feuerreiter was suitably dramatic, though not quite at the demonic level he and some can reach. But he brought real drama to Ritter Kurts Brautfahrt, a strophic ballad that can fall flat in the wrong hands (voice). In Sankt Nepomuks Vorabend, one could hear glimmers of Prégardien’s natural translucence, reflecting his youth as a choirboy. “Lichtlein, schwimmen auf dem Strom”
Listen to Prégardien’s most recent recording of Wolf’s Italienisches Liederbuch which came out in Spring 2011 on the small label Channel Classics. The soprano on that disc was Julia Kleiter, a fellow Limburger, good for the ensemble work so crucial to the Italian Songbook. But the Mörike and Goethe are much more sharply defined and need great personality. When we heard that Kelier was being replaced ar minimal notice by a singer born in 1990, our hearts dropped. What could any singer that young bring to Hugo Wolf?
Yet Anna Lucia Richter turned out to be the surprise of the evening. Obviously someone aged 21 isn’t going to sound polished but Richter turned her youth to advantage. In Nixe Binsefuß, bright, almost staccato notes sparkle like sharp icicles. But this Nixe is a water sprite with attitude who would like to slash the fisherman’s nets and liberate the fish. Richter’s voice is pure, but has a wild edge totally in keeping with the Nixe’s free spirited anarchy. Then, when she sings about the fisherman’s daughter, her voice warms. Icicles no more! And so the Nixe flies away as the day breaks.
It’s difficult to combine the technical demands of Elfenlied with a true sense of innocence, but Richter manages well. Her elf is genuinely naïve and she describes his accident with droll humour. Similarly, Richter’s Begegnung is turbulent, like the wind and the emotions the young girl experiences. I don’t know how long Richter had to prepare, as the programme was printed before she was hired, but she threw herself into the songs with unselfconscious enthusiasm, so they come over extremely well.
No-one at Richter’s age, or even ten years older, is going to have finesse, but that will come with experience. It’s much better that a singer starts out with enthusiasm, and engages with what she sings, as Richter does. Her voice has colour and range, so she has plenty of potential. Definitely someone to follow. She has dramatic instincts, leaping into some songs in the second part of the programme as an opera singer might, so she will have many options. She’s still studying at the Cologne Conservatory but is scheduled to join the company of the Deutsche Oper am Rhein in Düsseldorf from 2012-13. She’s also worked with Prégardien before and recorded Schumann with him.
“We’d better give the poor girl some help” said Julius Drake before the encore (a Mendelssohn duet). He played gloriously, but part of a song pianist’s brief is to work with singers, especially the young.