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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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.