At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
MacMillan is a major Scottish composer who specializes in music with spiritual sensitivity. Since it was the day of Preparation sets the final section of St John’s Gospel from the removal of Jesus’ body from the cross to the end of John’s account, covering the period from Easter Eve until Pentecost. The work is for a small group of singers and a small group of musicians, together with male soloist, baritone is in the original scoring but here the role was ably sung by the low operatic bass, Brindley Sheratt.
Episodes of recitative for different vocal groupings, are interleaved with ‘interludes’ an extended cadenza for each instrument in turn and with other ‘interludes’ for the quintet as an ensemble (theorbo, cello, clarinet, horn and harp). These could in fact be used in excerpt and would stand on their own, either as short works showcasing each instrument, or collectively.
There are long passages for tenor (Andrew Busher) — who opens the entire work — and high baritone (Tom Bullard), not a bass, as described slightly confusingly in the programme, but very good, with a warm sweet tone. Both are very good, and the excellent acoustic meant every word was clearly audible, even at the back of the performance space. Against this are placed periodically Latin liturgical texts, mainly from the Renaissance. The musical, liturgical and dramatic climax of the whole work comes early in the second act, when a piercing peal of sound from the clarinet symbolises the discovery of the empty tomb.
The clarinet is an instrument for which MacMillan has written well, and here his writing for it is at its finest. This vocal section, ‘The Empty Tomb’ is followed by an Interlude for that same instrument, perhaps pre-eminent amongst these and very ably played by Yann Ghiro, whose contribution to this performance was one of its highlights. The clarinet also features prominently in the ensemble interlude between the first two acts, which separates the burial scene from the discovery of the empty tomb ; after quiet, dignified understated playing in the lower register by the other instruments, it enters to take the lead in a skirl-like dance which fades into a keening wail of mourning, being joined by the cello playing high in its register — a piece reminiscent of MacMillan's Tuireadh.
The difficulty of performing the role of Christ has been addressed before. MacMillan creates a feeling of distance and other worldliness by setting the soloists further back from the rest of the singers, and in this performance the use of the low bass voice added gravitas to the role. Brindley Sherratt’s singing created an absolutely spine-tingling effect, further enhanced by the continuous use of bells whilst Christ’s words were sung, recalling the effect of bells being used in the eucharistic prayers during a mass.
Another of James MacMillman’s religious works formed one of the programme items in Sunday’s recital from the festival series at St Michael’s Church. Kiss on Wood, for violin and cello, is also drawn from liturgy for Holy Week, this time an anthem for devotions on Good Friday. A small but powerful piece, it was ably and enjoyably performed there by Monika Geibel (violin) and Olja Buco (piano) — who also gave an excellent account of Elgar’s Violin Sonata in E minor, Op 82 (both works influenced by wood as a material, as well as for a wooden instrument).
The Edinburgh Festival will be presenting more of of MacMillan’s work next week in the shape of his Opera Clemency, one of a series of chamber operas commissioned by Scottish Opera and performed in turn on a nightly basis. Again a religious work, this time from the Old Testament rather than the New. I’ll be reporting further for Opera Today.
Since it was the day of Preparation will be performed again in London during the autumn season this year. Last night’s performers are also recording this work, to be released next Spring. The Hebrides Ensemble can be heard again on tonight’s Late Junction on BBC Radio 3, and at the Lammermuir Festival in east Lothian next month. Synergy Vocals will be returning to the Edinburgh Festival next year to perform Berio’s Sinfonietta with the BBC Symphony Orchestra. Brindley Sheratt will be appearing in a new production of Medea at the ENO.