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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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.