Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

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):