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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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.