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

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

OPERA TODAY ARCHIVES »

Performances

Felix Mendelssohn
16 Nov 2012

A Celebration of Mendelssohn Song

The Wigmore Hall Celebration of Mendelssohn Song series culminated in a recital of works by Felix and Fanny Mendelssohn and by Robert and Clara Schumann. The programme was very well chosen because Felix, Fanny, Robert and Clara knew each other..

Felix Mendelssohn, Fanny Mendelssohn Hensel, Robert Schumann, Clara Schumann

Susan Gritton, Sarah Connolly, Eugene Asti

Wigmore Hall, London 10th November 2012

Above: Felix Mendelssohn

 

Susan Gritton, Sarah Connolly and Eugene Asti began the recital with duets, affirming the theme of companionship and symbiosis. Three contrasting settings of Heinrich Heine, including the famous Wasserfahrt op 50/4 which Felix Mendelssohn wrote shortly before the Schumanns married, inspiring Robert Schumann's Liederjahre. Heine's text suggests connections with Winterreise. The poet leaves his homeland. He passes his sweetheart's home but she shows no sign of interest, so he sails off into the unknown, blinded by tears. There's irony in the way the voices intertwine, though there's no hope for the relationship. The piano part describes waves: the ocean is impersonal, constantly changing, obliterating the past.

Fanny Mendelssohn Hensel wrote almost 400 works, a significant output for a woman in her social circle. Her Five Lieder op 10 reflect her intellectual rigour. Fanny endured a long engagement because Wilhelm Hensel worked in Italy, so her setting of Hensel's poem, Nach Süden (op 10/1), had deep personal meaning. The theme of separation may have resonated with her brother after her death, for he included it as the first song in this posthumous publication. Nonetheless it's very well written: Felix would not have included anything less in a tribute to his much missed sister. It bears comparison with Fanny's settings of Lenau, Geibel and Eichendorff. These were all contemporaries: Fanny was setting "new" poetry, choosing poets who were to inspire generations of composers to come.

In Vorwurf, (op 10/2), she confronts the bleakness of Lenau's verse without compromise. The suggestion of ponderous footsteps in the piano part suggests gloom, but the stern reproach in the second strophe indicates strong-minded resolution.: no escape into "romantic" passivity. The vine imagery in the Geibel setting Im Herbst (op 10/4) inspires luscious curling symmetries Most beautiful, perhaps, is the Eichendorff setting Bergeslust, (op10/5), the last piece she wrote before she died. The introduction is written with great freedom evoking the open vistas of a mountain top. Clouds drift down, and birds descend, but "Gedanken gehn und Lieder fort bis ins Himmelreich". Voice and piano join in unison.

Susan Gritton's recording of Fanny Mendelssohn Songs for Hyperion is a a classic, but on this occasion she may have been unwell, for she was not on her usual form. Nonetheless, she has worked so closely with Eugene Asti that he could compensate. He played with sensitivity, protecting Gritton so she wasn't exposed. Later in the evening, she regained her composure. In Lieder, as in life, partnership like this benefits performance. Very much in keeping with the theme of companionship that ran through this programme. It's not for nothing that Asti is one of the great champions of Mendelssohn song in recital.

Eugene Asti and Sarah Connolly have also worked closely together in Mendelssohn. Connolly sang Mendelssohn's Six Songs op 71 with great poise. Intelligent phrasing, clear diction, a nice burnished tone. I specially liked the Lenau setting Schilflied (1842) where the poet describes the stillness of a pond in the monlight, where deer and birds move among the reeds. ".....träumerisch im tiefen Rohr", sang Connolly, breathing into the vowels with great feeling. The Eichendorff setting Nachtlied (1847) is exquiste, at once elegaic and elegant. Night has descended, with intimations of death. But the poet isn't alone "Frisch auf dem, liebe Nachtigall ! du Wasserfall mit hellen Schall!" The song of the nightingale lights up the gloom with a cascade of bright, refershing song. Gentle diminuendo in the postlude, like embers glowing in the darkness.

If anything, Robert Schumann was even more sensitive to poetry than the Mendelssohns. Schumann's Spanisches Liederspiel (op 74, 1849) set Geibel's verses describing an exotic, imaginary Spain. The three songs chosen from the set depict flowers and sensual perfumes. In Botschaft, "Tausend Blumen, tauumflossen", piano and vocal lines entwine like garlands, intoxicating the listener, drawing him into a world of possibly illicit passion. In their own ways, Mendelssohn and Schumann contributed towards the Romantic challenge to the aesthetic of North German Protestant propriety. It's no coincidence that Hugo Wolf worshipped Schumann, wrote his own Spansiches Liederbuch (also to Geibel and Heyse) and operas based on Spanish themes.

Clara Schumann was a contemporary of Chopin and Liszt. Like them, she had an international celebrity career. She was an independent breadwinner in a way that Fanny Mendelssohn could not be, constrained as she was by her higher social status. By any standards, Clara Schumann was a pioneer, but Robert wanted her to be a composer, too. Songs like Lorelei and Volkslied (both Heine) charm because they're so descriptive. But her instrument was the piano, not voice. The bitter tragedy of Heine's Sie liebren sich beide (op 13/2 1842) didn't bite, though Asti's accompaniment was accomplished.

Susan Gritton sang Robert Schumann's Six Poems of Nikolaus Lenau (op 90) picking up nicely. Lyrical as these songs are, there are tricky moments, like the tongue twister "vom stillen Strahl des Schmerzens bist du gebeugt und blasser" in Meine Rose. Sarah Connolly returned for the op 90 Requiem "Ruh' von schmerzensreichen Mühen".

Anne Ozorio

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):