Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Vienna Philharmonic, Riccardo Muti conducting. [Photo © Silvia Lelli courtesy of the Salzburg Festival]
20 Aug 2012

Berlioz and Liszt at the Salzburg Festival

At the Salzburg Festival, Riccardo Muiti conducted Liszt’s Von der Wiege bis zum Grabe and Berlioz’s Messe solonnelle.

Franz Liszt: Von der Wiege bis zum Grabe (S 107), Les Préludes (S 97); Hector Berlioz: Messe solennelle (H 20)

Julia Kleiter: soprano, Samir Pirgu: tenor, Ildar Abdrazakov (bass). Concert Association of the Vienna State Opera Chorus (chorus master: Ernst Raffelsberger). Vienna Philharmonic Orchestra, Riccardo Muti (conductor).

Grosses Festspielhaus, Salzburg, 17th August 2012

Above: Vienna Philharmonic, Riccardo Muti conducting.

Photos © Silvia Lelli courtesy of the Salzburg Festival

 

This, the third of the Vienna Philharmonic’s concerts, reunited the Salzburg Festival’s pit band with one of its favourite conductors, Riccardo Muti. Muti’s presence on the podium pretty much guarantees at the very least a high degree of execution, and there were no real problems in that respect here, though I have heard the VPO sound more faultless, not least with him. In the right repertoire, and the nature of that repertoire can readily surprise, Muti remains a great conductor. Berlioz proved on this occasion a better fit than Liszt, perhaps not surprisingly, given Muti’s track record: I recall a fine Salzburg performance of the Symphonie fantastique, followed by Lélio.

I have heard far worse in Liszt, a composer who suffers more than most not only from bad performances, but also from the deleterious consequences thereof. Bach’s towering greatness will somehow, quite miraculously, shine through even the worst the ‘authenticke’ brigade can throw at him; Liszt in the wrong hands can readily sound meretricious, and even we fervent advocates have to admit that his œuvre is mixed in quality. The late, indeed outlying, Von der Wiege bis zum Grabe (‘From the Cradle to the Grave’) (S 107) fared better of the two symphonic poems performed, birth and death in turn faring better than the ‘struggle for existence’ in the middle. The VPO contributed delicate, sensitive performances in those outer sections, violas’ cradle song and woodwind caresses especially ravishing.

Les Préludes, (S 07), on the other hand, suffered from some of the bombast that also infected the middle section of the first work. The most celebrated of Liszt’s symphonic poems — for reasons that remain obscure to me — is extremely difficult to bring off successfully. Muti’s reading did not exhibit the vulgarity of, say, Solti, yet nor did it entirely convincingly convey harmonic motion and richness of texture. There were times when, volume notwithstanding, the work sounded somewhat thin. The audience, however, acted as if it were English in Beecham’s understanding, not much liking the music of Von der Wiege bis zum Grabe, reaction quite tepid indeed, but certainly liking the noise that Les Préludes made.

15Aug2012__Silvia_Lelli_8.gifJulia Kleiter, Ildar Abdrazakov, Riccardo Muti, Saimir Pirgu, Vienna Philharmonic

Berlioz’s Messe solennelle (H 20) was long thought lost, yet it resurfaced in 1991, granted its first modern performance in 1993. This was the first time I had heard this fascinating work in the flesh. Whilst it would be folly to proclaim it a masterpiece, or even something approaching that status, it has much to interest, not least in Berlioz’s recycling of some of the ideas in works that certainly are amongst his greatest. One might expect a degree of kinship between this mass and, say the Requiem — the latter’s celebrated brass interventions reusing material from the Resurrexit’s ‘Et iterum venturus’, but one can hardly fail to be brought up short by the appearance of music one knows so well from the ‘Scène aux champs’ in the Symphonie fantastique, employed both orchestrally and then chorally. Muti’s long experience in the sacred music of Cherubini served him well in this performance, which it is difficult to imagine being bettered.

Steely, post-Revolutionary grandeur he does extremely well, form delineated with great clarity, but tender moments were equally well served. Any fears of undue restraint were duly banished by a blazing conclusion to the Kyrie. Choral singing was excellent throughout, as, the occasional blemish aside, were the performances of a large, though not extravagant, VPO. Movements additional to the typical mass — at least, typical to us, if not necessarily to early-nineteenth-century France — provided especial interest: an O salutaris, following Cherubini’s practice, and a celebratory monarchical Domine salvum fac, the latter benefiting greatly from sweet-toned yet ardent tenor, Samir Pirgu, and the darkly Verdian Ildar Abdrazakov, whose contributions throughout were, following a slightly muddy start, characterful and at time ominous. Only soprano Julia Kleiter was somewhat disappointing, her intonation rendering Berlioz’s pastoral a little sea-sick, before descending into generalised blandness. This was Muti’s performance, though; he set his seal on the work with style and conviction.

Mark Berry

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):