Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Enchanting Tales at L A Opera

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.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

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.

Brahms A German Requiem, Fabio Luisi, Barbican London

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.

Káťa Kabanová in its Seattle début

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 good way.

Festival Mémoires in Lyon

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).

Christoph Prégardien and Julius Drake at the Wigmore Hall

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.

La Tragédie de Carmen at San Diego

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).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

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.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

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.

Premiere: Riders of the Purple Sage

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.

English Touring Opera Spring 2017: a disappointing Tosca

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.

Matthias Goerne : Mahler Eisler Wigmore Hall

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.

A Merry Falstaff in San Diego

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.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

OPERA TODAY ARCHIVES »

Performances

Bernarda Fink [Photo © Julia Wesely]
11 Feb 2013

Bernarda Fink Residency, Wigmore Hall

For the first of her two February recitals at the Wigmore Hall, the Argentinean mezzo-soprano Bernarda Fink was joined by the Hugo Wolf Quartett in an eclectic, Italian-themed programme in which singer and instrumentalists sculpted diverse and beautiful musical vistas and communicated a remarkably coherent, shared vision.

Bernarda Fink Residency, Wigmore Hall

A review by Claire Seymour

Above: Bernarda Fink [Photo © Julia Wesely]

 

Ottorino Respighi’s Il tramonto (1914) for voice and string quartet is a setting of Percy Bysshe Shelley’s poem ‘The Sunset’, as translated by Roberto Ascoli, and describes a lovers’ moonlit walk and the woman’s subsequent life of endless mourning following the sudden death of her beloved. Fink wove flexibly between song, arioso and recitative recounting an engaging, touching narrative, the text clearly declaimed. While the accompaniment texture is impressionistic and at times quite sparse, there is yet a remarkable contrapuntal dynamism in the string lines, which the clean, crisp playing of the Hugo Wolf Quartett brought to the fore.

The performers adeptly conveyed the quiet intimacy of the work. After a theatrical string opening, a calm, lyrical episode describes one who ‘within whose subtle being […] Genius and death contended’; here Fink’s soprano was pure, light and floating, in keeping with the simplicity of the narrative and the ‘sweetness of the joy’ experienced, before swelling warmly to convey the passion felt by the lover for ‘the lady of his love’. There was a poignant weariness in the delicate arioso when the waking woman finds her lover dead. In contrast, Fink employed a warm melodious timbre to convey the feminine selflessness of the grieving woman, ‘Her gentleness and patience and sad smiles’.

Throughout, singer and quartet were fully integrated in narration and mood-painting. There was some superb playing from cellist Florian Berner, his opulently etched lines providing harmonic direction and structural cohesion, particularly in the section depicting the glories of the natural world and the hues of the sunset — ‘lines of gold/ Hung on the ashen cloud […] mingled with the shades of twilight’ — in which the players achieved an admirable motivic clarity. After depicting a life of self-denial and duty — a ‘kind of madness’ — Fink expressively announced the woman’s final appeal for peace, the beautiful violin solo with which the work closes tenderly reinforcing the mood of bitter-sweet desolation.

Il Tramonto was preceded by an original, and surprisingly repressed and intense, reading of Robert Schumann’s String Quartet in A Op.41 No.3. In his three Op.41 quartets, the composer turned from the narrative approach of his earlier orchestral works and sought inspiration from the classical masterpieces of Haydn, Mozart and Beethoven, and the Hugo Wolf Quartett were certainly concerned to create a sharply defined motivic texture, sometimes perhaps at the expense of fulsomeness of tone.

Their delicate, careful approach was, however, perfectly suited to the subtleties of the opening movement. Following a pensive introduction in which the principal motive — the sighing fall of a perfect fifth — was clearly engraved, the players established an elegant grazioso ambience, the transparency revealing the Beethovian density of Schumann’s motivic method and the intricacy of the rhythmic structures. The dislocated complexities of the main theme — in which the seemingly misaligned legato cello line juxtaposed with off-beat interjections from the other players — were wonderfully controlled.

The urgent, restless syncopations of the second movement, a theme and variations, culminated in a serene conclusion in the relative major mode, leading to a profound reading of the Adagio, in which the instrumentalists allowed themselves to indulge their more rhapsodic leanings, relishing the beautiful, song-like theme, and making much of the sudden and disturbing interruption of the repeated, march-like fragment which intrudes the relaxed lyricism.

The vigorous finale might have been even more boisterous, for Schumann’s robust, buoyant rhythms have a startling kinetic dynamism, but the four players effectively controlled the architectural arches of the rondo form, concluding with an extravagant coda.

After the interval, the focus was on Hugo Wolf’s musical response to the warm Italian South: ten songs from the Italienisches Liederbuch and the delightful Intermezzo. The latter — a rondo with richly diverse episodes and restatements — is quite radical in the way that the luscious opening melody is repeated interrupted by harmonically and rhythmically disruptive passages. The Hugo Wolf Quartett found subtle humour in the energetic vitality of the work, and presented a convincing account of this experimental work.

The Intermezzo was embraced by two sets of five songs from Wolf’s collection of forty-six translations of nameless Italian love poems, which depict the full range of emotions — passion and jealousy, ecstasy and despair — which characterise amorous relationships played out in everyday places: streets, marketplaces, churches. These rispetti from Tuscany are brief and mostly light-hearted, and the composer undoubtedly stamps his own personality on this anonymous collection; but Fink’s fluent and sleek delivery, captured the theatricality of the songs without being overly showy or self-dramatising.

Graceful and poised, Fink took us on a journey as man and woman fall, by turns, in and out of love. Fink can do ‘poised irony’ to a tee, as in ‘Wie lange schon’ (‘How I have yearned’) in which an artiste manqué longs for a ‘musician as a lover!’ who ‘with gentle mien … bows his head and plays upon the violin’. The members of the Hugo Wolf Quartett relished the musical wit, exaggerating first the lovelorn self-indulgence of the yearning would-be lover, then the inflated exuberance which greets the arrival of the long-for virtuoso, and finally the dreadful reality of the violinist’s pitiful technical aptitude.

Elsewhere Fink’s tone was intimate and personal, as in ‘Man sagt mir, deine Mutter wolle es nicht’ (‘They tell me your mother disapproves’); here Fink’s tone blossomed as she progressed from offended irritation to passionate avowal: “defy her, come more often than before!” At times, humour was to the fore, nowhere more so that in ‘Mein Liebster hat zu Tische mich geladen’ (‘My sweethart invited me to dinner’); here the accompaniment is illustrative, the accents in the quartet lines clearly mimicking the futile chopping of the ‘rock hard’ bread with a ‘knife quite blunt’.

This was a refined performance of these eloquent miniatures. It was a pity that the programme notes revealed nothing of the decision to perform these songs accompanied by string quartet, rather than piano; one would have welcomed some account of the process of arrangement for what this might have revealed about the relationship between voice and accompaniment in these songs (although the notes did remark that the tender ‘Wohl kenn’ ich Euren Stand’ employs a ‘string quartet-like texture’) — at the very least it would seem courteous to acknowledge the arranger!

This was a song recital characterised by captivating, but understated mastery. Bernarda Fink returns to the Wigmore Hall on 25th February to re-visit the Italian landscape. Accompanied by the Academy of Ancient Music, Italian Passions will explore ‘the emotional extremes and the open-hearted Italian spirit’ through a performance of Veracini, Merula, Vivaldi, Albinoni and Ferrandini.

Claire Seymour


Robert Schumann, String Quartet in A Op.41 No.3; Ottorino Resphigi, Il tramonto; Hugo Wolf, Five Songs from the Italienisches Liederbuch (‘Nein, junger Herr’, ‘Wie lange schon’, ‘Ihr jungen Leute, die ihr zeiht ins Feld’, ‘Gesegnet sei das Grün’, ‘Wir haben beide lange Zeit geschwiegen’); Intermezzo; Five Songs from the Italienisches Liederbuch (‘Mein Liebster hat zu Tische mich geladen’, ‘Wohl kenn’ ich Euren Stand’, ‘Man sagt mir, deine Mutter wolle es nicht’, ‘O wär’ dein Haus durchsichtig ein Glas’, ‘Wenn du, mein Liebster’)

Bernarda Fink, mezzo-soprano; Hugo Wolf Quartett: Sebastian Gürtler, violin; Régis Bringolf, violin; Gertrud Weinmeister, viola; Florian Berner, cello. Wigmore Hall, London, Wednesday 6th February, 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):