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Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
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.
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
31 Jan 2013
Soile Isokoski - Wigmore Hall - Sallinen
Soile Isokoski and Maria Viitasalo made a welcome return to theWigmore Hall, London. Their recital was a masterclass in what singing really should be about: not simply sound production, but the expression of meaning.
Isokoski has been singing Hugo Wolf since very early in her career.Her style is well suited to Wolf's songs. No arch artifice here, no flashy exaggeration. Isokoski's natural, unforced simplicity portrays the young women in these songs as fundamentally nice people, even when they're flirting coquettishly. Auch kleine Dinge could be interpreted with sarcasm, since the lover 's main attrribute is that he's tiny. Isokoski's gentleness breathes sincerity. "Bedenkt, wie klein ist der Olivenfrucht", she declares, then delivers the punchline "und wird um ihre Güte doch Gesucht".
Isokoski has performed Berlioz Nuits d'été (op 7) many times. This was not quite as incandescent as I've heard her sing it in the past, but as compensation it was an opportunity to concentrate on listening to her technique. Her foundations are so solid that you can admire her phrasing and carefully controlled modulation. If the lustre of her top was less than perfect, she made up for that with rich, almost mezzo warmth in the lower ranges. A voice might not be perfect at every time, but a really good singer knows when to use her strengths to communicate. No listener should expect recording-type results every time. Far better, I think, to hear someone like Isokoski manage her resources so wisely.
When Isokoski sang Richard Strauss Drei Lieder der Ophelia op 67 1918, she showed why she's such a good Strauss singer. Her Vier letzte Lieder recorded in 2003, conducted by Marek Janowski, is outstanding, even in a market full of good performances. Since Ophelia is a character from Hamlet, Strauss's settings lend themselves to dramatization. "Wie erkenn' ich mein Treulieb?" asks Isokoski sweetly, so the horror of the answer cuts sharply. "Er ist tot und lange hin". When she sings about the naked corpse in Sie trugen ihn auf der Bahre bloss, her voice transforms as if she's witnessing a miracle. "Kein Trauen bringt Gewinn". This connects to the Christian prayer in Karl Simrock's German translation.
Isokoski also regularly sings the songs of Charles Ives. Many Americans in Ives's time were recent migrants, so Isokoski's heavily accented English works rather well, creating an image of America as a vibrant melting pot. In On the Counter (1920) Ives satirizes "the same old sentimental sound" of popular songs by writing rolling circular figures for the piano. Isokoski sings the words "I love you" in such a humourous way that you can hear why Ives couldn't stand trite tunes. Not all divas can let their hair down emotionally but Isokoski hums and whistles with such gusto that she evokes the merry crowd in the opera house in Memories A) Very pleasant . This isn't the Met, full of reverence, but an "opera house" closer to the Opry, where people went to have fun and didn't care what anyone else thought.
Aulis Sallinen's Nelja laulua unesta (Four Dream Songs) (1972) are connected to his opera Ratsumies (The Horseman). There are probably more operas written in Finland than anywhere else, and Sallinen is a major composer. Soile Isokoski has made them a speciality, taking them into her repertoire at a very early stage in her career. .Anyone who has heard her sing Sibelius Luonnotar will understand why, for Sallinen's songs are powerful, unleashing supernatural, superhuman forces.
The cycle begins with a chilling piano introduction, suggesting snowfall and driving winds. A Man Made of Sleep appears, but what does he signify? The songs require extreme control of range." Hän ei nuku nukuttamalla", sings Isokoski, leaping suddenly up the scale from low, rumbling incantation. In Finnish each vowel is pronounced clearly, and there are many vowels in each word, often with umlauts. The language itself shapes this music, and Sallinen repeats phrases to maximize the impact. "Nukkuu unta näkemättä, ei sitä uni herätä" (he is sleeping without dreaming, no dreaming will awake him). The pace cannot be rushed, syllables must resonate.
The third song, On kolme unta susäkkäin (Three dreams each within each) is perhaps the most disturbing and unsettling piece in the group. The piano tolls a staccato sequence, while the voice intones mysteriously. A woman is dreaming and within her womb, an unborn child is dreaming, too. The mood is desolate, and Isokoski sings as if she's chanting a rune. "Minun täytyy syntyä ja koul" (I must be born and must die). Yet the line rises sharply upward, Isokoski's voice reaching crescendi before the sudden mood change in the last phrase. From thence, it's as if something powerful has been released. The final song is Ei mikään virta, (There is no stream that journeys so swiftly as life itself). The final song hurtles forward. Words are repeated urgently,turbulently, Isokoski's voice crisp and agile. "Kulkeva, kulkeva" (moving, moving) was enunciated high and clear despite the choppy pace. A tour de force, greatly appreciated.