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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

A portrait of Barbara Strozzi (1581-1644) by Bernardo Strozzi.
10 Jan 2013

Echoes of Venice

The opening concert of the Wigmore Hall’s spring season exemplified the high standards of intelligent musicianship and imaginative programming so typical of the Hall’s artists. Soprano Carolyn Sampson and theorbo player Matthew Wadsworth presented a thoughtful, inventive programme, ‘Echoes of Venice’, alternating tender and impassioned songs of love with striking instrumental pieces.

Echoes of Venice

A review by Claire Seymour

Above: A portrait of Barbara Strozzi (1581-1644) by Bernardo Strozzi.

 

Monteverdi’s ‘Sí dolce è’l tormento’ (‘So sweet is the torment’) perfectly expresses the Renaissance paradox of the exquisite pain of love. An ambitious, extensive instrumental ground accompanies a largely unadorned vocal line. Fittingly the fresh, open simplicity of Sampson’s floating high notes were complemented by a slightly more enriched lower register. But, although the sentiment of the text was supremely captured, and nuances of tone employed to convey the peaks of intensity — ‘Per foco e per gelo/ Riposo non ho’ (‘between fire and ice/ I have no rest’) — it was a pity that Sampson so neglected the consonants; for her ornamentation was delicate and judicious, complementing the theorbo’s more dramatic inflections and articulation, and she and Wadsworth built to a deep, affecting warmth for the pining lover’s final expression of hope that his passion will one day be reciprocated.

The first half of the recital was dominated by the music of Barbara Strozzi, a singer and the composer of eight volumes of, chiefly secular, vocal music published in Venice between 1644 and 1664. Sampson and Wadsworth made a convincing case for her to be considered more than a ‘historical novelty’, revealing the grace and spontaneity of Strozzi’s style, the musical motif and form responding naturally and intuitively to the text. In ‘Rissolvetevi, pensieri’ (‘Resolve, thoughts’), the poet-speaker’s troubled restlessness is conveyed by the vocal repetition of melodic and rhythmic phrases, as Strozzi frequently repeats small units of text creating a complex, lengthy aria. Sampson’s vibrato-light soprano nimbly tumbled with lucid fluidity through falling triadic shapes above Wadsworth’s searching, wandering bass line.

Although the title-pages of all but one of Strozzi’s books of madrigals announce their contents as ‘arie’, ‘ariette’ or ‘cantate’, in fact her works employ a diversity of style and form and the extended ‘L’amante segreto’ (‘The secret lover’) — its refrain built on a descending tetrachord — is more ‘operatic’ in impact. A richly inflected recitative-like idiom, as the singer urges herself to have courage and fortitude in the face of fear, contrasted powerfully with the quiet stillness of Sampson’s admission, ‘Ma io voglio morire/ Piuttosto ch’il mio mal venga a scopire’ (‘But I would rather die/ than that my sickness come to be discovered’). Wadsworth was not afraid to signal such changes of mood with surprising sharpness of attack and dynamic variation. The concluding entreaty to Cupid to throw down his mighty arrows revealed the moving rich depth of Sampson’s mezzo, which she also put to excellent use in ‘Che si può fare’ (‘What can be done’). In the latter, the performers obviously enjoyed the increasingly piquant dissonances — as the singer laments what can be done if heaven refuses to relieve her suffering and the planets rain down disasters — before such restless anxiety was ultimately resolved in a sweet tierce de picardie.

‘Che si può fare’ shares its lengthy ground with Giovanni Kapsberger’s ‘Passacaglia’ from the Libro quarto d’intavolatura di chitarrone, and Wadsworth effected a seamless transition between the preceding instrumental number and Strozzi’s song. This was one of several instrumental interludes interspersed between the vocal items, and while such repertoire is somewhat limited in expressive range, the toccatas, chaconnes and dances of Kapsberger and Alessandro Piccinini offered a pleasant contrast. Wadsworth’s decorative traceries were articulated with relaxed ease, as melodic motifs came to the fore and then were subsumed once more within the elaborate accompanying textures, suggesting hidden mysteries. Piccinini’s ‘Corrente terza’ was particularly notable for Wadsworth’s light, rhythmic finger work and the effective use of contrasting registers.

Francesca Caccini, the daughter of the virtuoso singer and composer, Guilio, was probably the most prominent and successful female musician of the period, and her ‘Lasciatemi qui solo’ followed the interval. ‘Leave me here alone’ begins the singer, and this was indeed an intimate, restrained rendering, the stillness only occasionally enlivened by gentle expressive flourishes. A brief moment of energy — ‘Felicissimi amanti/ Tornate al bel diletto’ (‘Happiest lovers,/ return to fair pleasure’) — gestured by a sudden change in the accompaniment texture, immediately gave way to languid minor-key yearning for death, Sampson’s final colourless whisper, ‘Gia sono esangu’e smorto’ (‘I am already bloodless and pale’), seemingly fulfilling the poet’s desire.

Despite the similarly despairing title of Benedetto Ferrari’s ‘Voglio di vita uscir’ (‘I wish to leave life’), a joyful lightness characterises this song and betrays the poet-speaker’s insistent avowals as a deliberate ploy to win his lover’s affection, and it offered a welcome moment of playfulness. Strozzi’s ‘L’Eraclito amoroso’ (‘Amorous Heraclitus’), a dramatic ‘scena’ was notable for the flexibility of Sampson’s recitative and the rich sheen of the more lyrical moments. Here, as throughout, there was an impressive degree of communication before the performers.

Playing straight from the heart, Sampson and Wadsworth presented a thoughtful, enchanting selection of little-known seventeenth-century music, always alert to nuances of phrase and colour, but never mannered or overly ostentatious. The performers’ evident pleasure in this music was undoubted matched by the charmed Wigmore Hall audience.

Claire Seymour


[Monteverdi ‘Sí dolce è’l tormento’; Strozzi ‘Rissolvetevi pensieri’; Piccinini Toccata X, Ciaccona in Partite Variate; Strozzi ‘L’amante segreto’; Kapsberger Passacaglia from Libro quarto d'intavolatura di chitarrone; Strozzi ‘Che si può fare’; Caccini ‘Lasciatemi morire’; Ferrari ‘Voglio di vita uscir’; Piccinini Toccata VI, Partite variate sopra quest’ aria francese detta l’Alemana, Corrente terza; Strozzi ‘L’Eraclito amoroso’.]

Carolyn Sampson, soprano; Matthew Wadsworth, theorbo; Wigmore Hall, London
Thursday 3rd January, 2013

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):