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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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.