Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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.