Recently in Performances
‘[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
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venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
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For the Late Night concert after the Saturday series, fifteen Berliners
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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
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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
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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
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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.
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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
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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
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Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
27 Jun 2012
Les Troyens, Royal Opera House London
A sensational Les Troyens at the Royal Opera House, London. Berlioz, who understood theatrical gestures so well, builds his opera around the most audacious dramatic device in ancient history: the Trojan Horse.
The population of Troy delights in the spectacle, but then all hell breaks loose and the city is destroyed. David McVicar’s new production is similarly audacious. The orchestra roars full tilt. Even the instrumentation is extravagant — the ophicleide wails like a strange monster. Then the Horse looms into view, moving in a surprisingly realistic way. its eyes shining as if the creature were alive, which adds a poignant twist.
Anna Caterina Antonacci as Cassandra
The Greeks and Trojans had much in common with the age of Napoleon III. David McVicar and his team (Es Devlin, Moritz Junge, Wolgang Göbbel) brilliantly capture the expansive, extravagant spirit of Berlioz’s time. France at its imperial peak, colonizing Africa and Asia. Paris was being rebuilt on a grand scale. Berlioz wasn’t doing history re-enactment but writing to stun Paris with its audacity. His orchestration isn’t the music of antiquity, but the most advanced and adventurous of its time. Berlioz isn’t doing history re-enactment, and his audiences interpreted Virgil through the filters of Claude and Poussin.
Grecian pottery depicts figures with minimal background: in Berlioz, the background is extreme and densely textured. The principals and secondary parts have to be strongly cast to stand out. Berlioz writes psychological depth in the music rather than in the text, so a strong casting and good direction are of the essence. At The Royal Opera House, the singing and acting was superb, thus expanding the spirit of the roles for maximum dramatic impact.
Bryan Hymel as Aeneas
Anna Caterina Antonacci created the part of Cassandre with John Eliot Gardiner in Paris in 2003. She’s pitted, alone, against the hysteria in the chorus, and the militaristic violence in the orchestra, but her voice holds its own and soars through with dark intensity. Cassandre and Chorèbe (Fabio Capitanucci) are counterparts to Didon and Énée, but Eva-Maria Westbroek’s Didon and Bryan Hymel’s Enée were more than a match for the sheer passion of their characterization.
Eva-Marie Westbroek sang Cassandre in the Amsterdam Les Troyens in 2011 (Pierre Audi). She’s also a natural for the warm, happy Didon we see in Carthage (the desert city brilliantly depicted in multi dimensions so we get a sense of its teeming activity). This throws her portrayal of Didon’s extreme grief into sharp relief. When Westbroek sings of her anguish, the set is bare but for blue-grey curtain, the staging speaking for her as much as the orchestration. Westbroek’s such a sympathetic Didon, we feel her agony.
Bryan Hymel sang Énée in the Amsterdam production last year, and brings experience to the role. Anyone who bought tickets expecting Jonas Kaufmann would not have been disappointed. If anything, Hymel’s bright lyric tenor suits the part better. In the duet “Nuit d’ivresse et d’extase infinie!” he conveyed such beauty and sensitivity that he fleshed out the action man hero side of Énée, and the role became a real personality. Hymel’s Farewell aria was stunning, and ended with an exuberant flourish that was both heroic and tragic. The audience burst into spontaneous applause for the first time. Some audiences clap at anything, but this audience was far more sophisticated. You don’t do a demanding five-hour opera unless you really care. Hymel is still only 32, and has years of potential ahead.
Eva-Maria Westbroek as Dido and Hanna Hipp as Anna
Brindley Sherratt’s Nabal was powerful, setting the opera in context. Duty, fate and tragedy, love cannot compete except in death. Also outstanding was Ji-min Park as Iopas, singing the plangently lovely “O Blonde Cérès”. Park is only two years out of the Jette Parker Young Artists Programme but a singer who should go far. Indeed, all the singing and acting was top notch, the entire cast on message, the chorus well blocked and expressive.
Coming from a background in Berlioz songs, I can’t bear the bombast some like in Les Troyens, but Antonio Pappano’s approach is more perceptive. He understand that what makes this opera work is its variety. Berlioz is flashing his virtuosity. The carnage music must be strident, but Berlioz writes music of surprising delicacy, and even humour. Pappano characterized the ballet scenes sensitively. These are important, not mere filler, for they set the context of the opera. Berlioz’s Paris audiences would have liked this exotic orientalism had they heard it, for it fitted their image of themselves as rulers of North Africa and beyond. Wisely, McVicar and his team used the exotic theme in the set, where the “world” (ie the model of Carthage) floats in a magical cosmos of blue, green and red light, illuminated by stars. Perfect union of music, staging and meaning.
This Berlioz Les Troyens is an experience no-one should miss. Alas, performances are sold out solid and you might have to pay way over the odds to get in. Luckily, it’s being filmed and will be in cinemas in November and hopefully out on DVD. it’s a milestone for the Royal Opera House and they’d be mad not to revive it soon. View it live on Mezzo TV on 5th July here and listen to the Proms semi-staging on 22nd July.
Scene from Les Troyens