Recently in Performances
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
19 Apr 2012
Wolfgang Rihm’s Jakob Lenz by ENO
When the ENO does really innovative work, it does so with style. Wolfgang Rihm’s Jakob Lenz may have taken 34 years to reach London fully staged, but this ENO production made such a strong impression that it might be years before it will be forgotten.
Wolfgang Rihm is one of the most important German composers of our time, and hugely influential. His orchestral and chamber music are well known in Britain, but less so his many operas. Jakob Lenz dates from 1978, when Rihm was only 24, but it’s an established part of the repertoire in Europe.
The Hampstead Theatre is a more claustrophobic performance space than the Young Vic or the Coliseum, which suits this opera well. Jakob Lenz was the Romantic poet who became insane. The stage is shrouded, as if in a mist, surrounded by realistic looking reeds. A reference to Wozzeck working in the reed beds, hallucinating mushrooms. The play on which Rihm’s Jakob Lenz is based was written by Georg Büchner who wrote Woyzeck, the source of Alban Berg’s opera.
Crazy, tangled images of reeds and water permeate this production Jakob Lenz is trapped in his madness: most of the action takes place on a narrow island on a stage within the stage. Lenz (Andrew Shore) keeps falling off the edge into real water, sometimes completely submerged. Pastor Johan Oberlin (Jonathan Best) doesn’t seem to notice, but Lenz’s friend Christoph Kaufmann (Richard Roberts) glances warily round the edges, careful not to lose his footing. It feels dangerous.
Andrew Shore as Jakob Lenz, Lillie Forrester as one of the children, Suzy Cooper as Friederike Brion
Lenz’s psychosis connects to these waters. He drags a young girl into the pond and drowns her. Or so he thinks. Reason blurs into unreality, just as land blurs into water in these reed beds. Lenz thinks the girl, whatever she may be, is raised from the dead because he prays. “Lenz”, incidentally, means “spring” which would not have been lost on poet, playwright or composer. The girl (Lillie Forrester) isn’t a real girl, but may be Lenz’s idealized projection of himself. “Logical, Logical!” he repeats later, as if mantras will restore order. In that sense, he’s not really so different to the pastor and to the church around which this village clings. An outline of the church looms over the proceedings, and its mirror image forms the platform on which Lenz moves.
Hyper-realistic staging for an opera where reality is so distorted that the narrative disintegrates. Lenz is obssessed by Friederike Brion (Suzy Cooper) who was interested in Goethe, not in Lenz, though in Lenz’s mind she is a kind of muse. She’s seen in powdered wig and face, like a ghostly wraith. An apparition as much as a character, and not a woman, as such. This very busy setting was wise, for Wolfgang Rihm’s music is too intense to be easy listening. British audiences aren’t used to Rihm yet and need picture postcard images from Caspar David Friedrich to distance themselves from the extreme emotion in this music.
Andrew Shore as Jakob Lenz and Richard Roberts as Christoph Kaufmann
But what music it is! Intensely atmospheric, almost pictorial. Oboes, bass clarinets, bassoon and cellos, moaning ominously like wind in the reeds, echoing the otherworldy choruses. A harpsichord screams in shrill desperation. Hollow wooden tapping, muted percussion like frantic heartbeats. Sudden cries from small trumpet. Strings plucked and beaten, sounds half heard from beyond the auditorium. Hearing Rihm’s Jakob Lenz audio only can drive you crazy, but that’s the point. Lenz is an artist. Oberlin isn’t, though he’s nice. Must artists be driven like Lenz is? Imagination is powerful because it hints at more than it tells.
Performance of a lifetime from Andrew Shore as Jakob Lenz, with strong support from Jonathan Best, Richard Roberts and Suzy Cooper, plus good chorus and actors. This isn’t an opera or a production for those who think Rusalka should be a pretty fairy tale, but it’s like a fairy tale in that it deals with subjects that can’t be easily explained. Georg Büchner’s original play (1836) treated psychosis in a modern, non-judgemental way. Generations before, Jakob Lenz might have been burned as a male witch. Büchner tries instead to understand, and Rihm gets us inside Jakob Lenz’s head, so we might feel as he does. It’s not comfortable, but most definitely important. Sam Brown is the director, Annemarie Woods the designer. For bringing Rihm’s Jakob Lenz to London, the ENO deserves every accolade.