Recently in Performances
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain. And, if the second half of the programme - 20th-century American classics with the odd folky diversion - did feel a little like a prolonged encore (which was followed by three further suavely delivered numbers complete with mischievous banter and musical high-jinks), this did not lessen the musical and theatrical accomplishment or the evident delight of the Wigmore Hall audience, although I confess to feeling a bit of a sugar-rush
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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.
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.
[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