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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
09 Jan 2013
Hugo Wolf Songbooks, Wigmore Hall, Kirchschlager, Henschel, Drake
Julius Drake's latest Hugo Wolf Songbooks recital at the Wigmore Hall featured Angelika Kirchschlager and Dietrich Henschel. These singers have very different voices indeed, so Drake's programme made the most of the contrast.
The logic behind the song selections revealed itself as the recital progressed, but the evening started with five Mörike songs which Kirchschlager sings so well. Her distinctive, warm timbre adds depth to Wolf's songs, bringing out the sensuality fundamental to their interpretation. When Kirchschlager sings Wolf, there's nothing precious or effete, even when, as in Erstes Liebeslied eines Mädchen, the girl is so young that she cries "Grief ich eine Schlange" while less innocent ears know what she's really snared in her net. Kirchschlager's forte is natural graciousness. She's ideal in Wolf because she's subtle, capturing the delicate charm beneath which Mörike shields dangerous thoughts. In Das verlassene Mägdlein, Wolf writes turbulence into the piano part, expressing the emotional tempest the servant girl feels even though she's attending dutifully to her job. On this occasion, Kirchschlager was singing into words, as if the songs were a vehicle for hochdramatischer grand opera. She's good enough that she was still enjoyable, but it's not her usual style, nor one particularly suited to these songs.
Perhaps this concert was an experiment in turning Wolf's songs into theatre. It's perfectly reasonable to group Wolf's settings of Goethe's Wilhelm Meister poems into a kind of narrative. The saga is so well known that most listeners understand where the songs belong. Kirchschlager, Henschel and Drake presented the three Harfenlieder songs (plus Spottlied) with the three Mignon songs, withPhiline and Kennst du Das Land.
This was a welcome chance to enter into the world of the strange old harper and Mignon. Mignon is very young, but has a horrible backstory of abuse. Kennst du das Land is one of the most beautiful songs ever written, but part of its impact comes from the intense emotions it evokes, emotions almost too extreme to be expressed by a child. Sorrow is central to her personality. "Nun wer die Sensucht kennt, weiss, was ich leide!". The rcihness of Kirchschlager's voice suggests that there are mysteries to Mignon's personality which we may never know. When she sings the downward phrases at the end of Mignon 1 ("und nur ein Gott"), her voices seems to swoon. Julius Drake shows how the phrase is replicated in the piano part, the piano reinforcing what Mignon cannot tell.
In some repertoire, a voice like Dietrich Henschel's is an advantage. Recently he sang Bernd Alois Zimmermann's Ich wandte mich um und sah an alles Unrecht (Ecclesiastical Action) for Vladimir Jurowski at the Royal Festival Hall (read review here) where the harsh, apocalyptic subject requires a singer who can sing forcefully, often in tricky, disjointed phrases. Henschel sang that well, but singing Wolf is a different prospect.. Henschel was acceptable in the Harfenspieler songs, because Goethe deliberately contrasts the ravaged Harper with the angelic Mignon. In the earlier part of the recital, with other Goethe settings, like Prometheus and Grenzen der Menscheit his singing as marred by excessively wide dynamics. Phrases were pulled out of shape, harsh vibrato overcompensating for dry tone. It didn't help that Julius Drake pounded ferociously. He's one of the best pianists for song but here gave his singer no quarter. Henschel's good enough to know when things aren't going well for whatever reason. When Kirchschalger finished singing Philine, Henschel remarked on the final lines "Jeder Tag hat seine Plage, und die Nacht hat ihre Lust". Everyone has bad days sometimes. He then approached Spottlied with gruff good humour, defusing some of the bitter envy in the text, which is a perfectly valid interpretation.
Hugo Wolf been called the "Wagner of the Lied" but this refers to the way he rethought the relationship between poetry and song. Indeed, Wolf's sensitivity to miniature nuances precludes Wagnerian treatment. While it was good to hear the Wilhelm Meister songs together, they aren't music theatre but songs to be sung as lyrically as is reasonable. The encore was Leopold Lenz (1803-62) Nun wer die Sensucht kennt., for two voices and piano.