Recently in Performances
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.