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On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
27 Jul 2012
Pierre Boulez : Le marteau sans maître BBC Proms
Pierre Boulez Le marteau sans maître is important as Stravinsky's Rite of Spring and Schoenberg's Pierrot Lunaire, says conductor François-Xavier Roth, who conducted it with members of the West-Eastern Divan Orchestra in BBC Prom 17.
Ironically, though Daniel Barenboim's Proms series features Beethoven, its greatest achievement long term may be bringing Boulez to mainstream audiences. Barenboim is a man of courage and principle. He's confronted social injustice, and now he's challenging musical prejudice.
Although the singer (Hilary Summers) sings in only four of the nine sequences of Boulez's Le marteau sans maître , it is a work infused with the concept of voice, a kind of meta-song. "Whereas Pierrot Lunaire is a theatre piece with instrumental accompaniment, the voice always prepondering," said Boulez in a description of the piece. "Le marteau sans maître stems from the cell of a poem which is eventually absorbed in toto". As a young man, Boulez was drawn to the poetry of René Char and wrote three major cycles based on his work. "Le marteau sans maître is thus crucial to any understanding of Boulez's output.
Char was a surrealist In his poetry, images are compressed, as if by homeopathic distillation. The poet's brief phrases don't reveal meaning in the usual sense, but force the reader to respond intuitiuvely. "Sudddenly", said Boulez, "You recognize yourself.... the illuminating paragraph seems simultaneously to take possession of you, and to increase your potential, your grasp and your power beyond anything you had dreamed possible".
In Le marteau sans maître, Char's words are crystalized still further so their very relationship with obvious meaning dissolves into the music itself, like a droplet spreading concentric cirles in a pool of water. Words are used for musical quality, such as alliteration. Boulez specifies that the singer is not a soloist. She sits with the ensemble, so the flow between players is uninterrupted. At the end, she intones abstract sound, almost the sound of body rhythms, and the flute (Guy Eshed) sings on her behalf, as had the viola (Ori Kam) before It's significant that Char was anti-fascist long before the German occupation. On a very deep level, Boulez is reiterating Char's beliefs in the value of the individual against the mass. He uses a strict, almost mathematical structure of three internal cycles within the nine pieces and other more subtle interrelationships. From this almost ritual formality, however, springs freedom of invention. Hence, the concept of hammer without a master.
Yet how that "hammer" is wielded ! Instead of blasts of massed brass and percussion, the "aural violence" of the orchestral palette, Boulez uses a small ensemble, where instruments are carefully balanced in terms of pitch and timbre. Lines are short, with lively traceries of individual notes rather than full tutti. Nor does he demand Lachenmann-esque distortions. These players aren't there to show off, but to co-operate. Boulez also emplys instruments that suggest, but don't copy, instruments from non-western cultures. The guitar (Caroline Delume), suggesting the Japanese koto, xylomarimba (Adrian Salloum) and vibraphone (Pedro Manuel Torrejon Gonzales) suggesting gamelan and the African balafon. They exist, not as exotics, because they can express the non-dogmatic nature of the piece and its sparkling fragments, merrily moving together. Even the percussion (Noya Schleien) employs no heavy timpani but a brushes, a gong, maracas, bongos. On this occasion I was struck by how Le marteau sans maître picks up on Messiaen's concepts. In a dawn chorus, many birds sing, but each is individual, and an astute listener can pick them out. In many ways Le marteau sans maître is also a precursor of Messiaen's Sept Haïkaï.
By choosing to showcase Le marteau sans maître in this Proms series, Barenboim is again making an extra-musical statement. This piece gives the musicians much more room to engage than the more complex Dérive 2 at the start of the series and it much more suited to their strengths. Performance is a journey not an end in itself, as a deep reading of this piece might suggest. François-Xavier Roth is a charismatic, slightly eccentric personality (in the best creative sense). He's sensitive to Boulez's idiom, and his rapport with the players was good. In Le marteau sans maître, everyone's a player if they're listening.