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

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

Cosi fan tutte in Salzburg

This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.

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):