27 Nov 2012
Haydn and Strauss, LPO
Haydn’s settings of the Mass ought to be heard incessantly, in churches and in the concert hall.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Haydn’s settings of the Mass ought to be heard incessantly, in churches and in the concert hall.
For reasons that elude me, they are not, even this, the so-called Nelson Mass, arguably the most celebrated of all, if only on account of his nickname. Indeed classical sacred music in general, Mozart’s included, with a very few obvious exceptions, is unaccountably neglected by most concert programmers. (When did you last hear Beethoven’s Mass in C major, op.86, any of Gluck’s sacred music, anything that was not a Mass setting from the Salzburg Mozart, or indeed any of the shorter liturgical works by Schubert?) Perhaps performers, audiences, bureaucrats alike still have the Whiggish canard that the Enlightenment was somehow concerned with secularisation seared into their incurious minds; if so, send them away with a copy of Ernst Cassirer’s venerable Philosophy of the Enlightenment in one hand and a good few scores or recordings in the other. In any case, let us hope that the London Philharmonic will programme more of this wonderful repertoire, especially if performed with such success as it was here, under Yannick Nézet-Séguin.
The ‘Kyrie’ plunged us immediately into a world of high liturgical, symphonic, well-nigh operatic, drama, the D minor tonality of Don Giovanni ringing in our ears. It was driven, but not too much; Nézet-Séguin knew where to yield too. The London Philharmonic Choir, here as elsewhere, shone, fullness of tone and precision in no sense antithetical. Sarah-Jane Brandon imparted the necessary note of wartime terror to the return of the ‘Kyrie’ material, form sharply delineated by Nézet-Séguin. A propulsive opening to the ‘Gloria’ shared that marriage of choral weight and transparency. It struck me, perhaps for the first time, how much Haydn’s writing for soprano against choir prefigures the ‘Hymn’ in The Creation, which lay, after all, just around the corner. The setting of the words ‘miserere nobis’ seemed to evoke Mozart — which of course in many senses it does, Haydn always keen to learn at the hands of the younger genius.
A particularly Haydnesque combination of Baroque sturdy figured bass, such as one always finds in his setting of the Creed (‘Tu es Petrus’) and Beethovenian symphonism characterised the opening section of the ‘Credo’. It was nicely shaded too, without fussiness. The cult of alte Musik furthered by Gottfried van Swieten, Viennese patron to Mozart and Haydn, as well as librettist (of sorts) for Haydn’s oratorios, was heard here for the inspirational influence it was: none of today’s mere antiquarianism (at best), but a vital force, informing performance and composition alike. Just listen to the words ‘et homo factus est’, Handel channelled via Haydn’s loving yet vigorous offices. The final section, like much of the rest of the faster material, was taken at a challenging tempo, or at least a tempo that would have proved challenging, had it not been for the excellence of orchestral and choral execution.
The ‘Sanctus’ was properly imploring, taken at a magnificently slow tempo, without the slightest hint of dragging. ‘Pleni sunt cœli...’ came as a thunderbolt of joy. A flowing contrast to both parts of that preceding movement was offered by a flowing ‘Benedicturs’. Militarism made its point, chillingly, yet commendably without the exaggeration one would most likely have endured from latter-day ‘authenticke’ freak-shows. Textures were clear and weighty (where necessary). Nézet-Séguin handled the ‘Agnus Dei’ with loving tenderness. Sarah Connolly offered excellent solo work at the opening, soon joined by her equally fine colleagues, Brandon, Robin Tritschler, and Luca Pisaroni. ‘Dona nobis pacem’ brought a wonderful, elating feeling of choral and orchestral release. Was anyone a more joyful contrapuntist — or homophonist! — than Haydn? As he is alleged to have said to a (slightly dubious) biographer, Giuseppe Carpani, ‘At the thought of God my heart leaps for joy, and I cannot help my music doing the same.’
Strauss’s Ein Heldenleben followed the interval. It is difficult to think of anything meaningful to connect the two works, so it was better approached simply as a contrast — which indeed it was. Nézet-Séguin and the LPO revelled in the opening kaleidoscope of colour, which sometimes, quite rightly, tended a little towards the phantasmagorically nauseous. The LPO’s cellos shone particularly, horns (led by David Pyatt) here and elsewhere quite glorious. Strauss’s critics were properly carping; Pieter Schoeman’s violin solo offered a delectable ‘feminine’ contrast, clean but not clinical, sinuous but not cloying. It was an interesting reading taken as a whole: not overtly symphonic, yet by the same token certainly not without form. Rather, the latter seemed to emerge from the material, which is doubtless as it should be. (Not that there is just one way of that happening, of course.) Battle was instrumental in more than one sense, a battery of brass and percussion both impressing and amusing: Strauss the inveterate ironist. It was brutal, but in a toy soldiers’ sort of way. There were a few occasions when I thought Nézet-Séguin might have relaxed a little more, but that was certainly preferable to meandering, always a danger in this score. The difficulty of shooting’s one bolt too early — I am not even convinced that Karajan always showed himself innocent of that all-too-seductive mistake — was avoided completely: quite an achievement.
Sarah-Jane Brandon (soprano); Sarah Connolly (mezzo-soprano); Robin Tritschler (tenor)
Luca Pisaroni (bass-baritone); London Philharmonic Choir (chorus master: Neville Creed); London Philharmonic Orchestra/Yannick Nézet-Séguin (conductor). Royal Festival Hall, London, Saturday 24 November 2012.