Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
02 Feb 2013
Der Kaiser von Atlantis at the Staatsoper Berlin
Recent seasons have seen a surge in so-called ‘Holocaust
operas,’ from Peter Androsch’s Spiegelrund, which
premiered in Vienna last week, to Mieczysław Weinberg’s The
Passenger, unveiled with a half-century of delay in Bregenz in 2010.
topic of Nazi politics may be bone-chilling, but when written by survivors,
allows for some emotional distance and reflection. Meanwhile, history has
bequeathed us what may be considered a Holocaust opera in the true sense of the
word. The Staatsoper Berlin is currently performing Viktor Ullmann’s
Der Kaiser von Atlantis (The Emperor of Atlantis),which was penned at
the concentration camp Theresienstadt to a libretto by Peter Kien just before
the authors were transported to Auschwitz in 1944. The chamber opera premiered
in Amsterdam 31 years after their death.
Theresienstadt served as both a transit post and a kind of sham for the
extent of the SS forces’ brutality. Leo Baeck, Pavel Haas, and Gideon
Klein count among the conscripted intelligentsia at the ‘model
ghetto,’ where Ullmann was engaged as an official music critic. A
freelance musician schooled in Schönbergian composition, the Silesian native
found himself with more time to compose than ever before. His score creates a
dizzying, but organic blend of serialist passages, sardonic cabaret, and
Mahleresque harmonies while subversively weaving in melodies such as ‘Ein
feste Burg ist unser Gott’ in the final chorus. It is an at once
harrowing and uplifting setting of Kien’s libretto, which provides a
vivid depiction of the inner turmoil but resignation a prisoner found in the
end of life as he knew it.
The story in some ways calls to Ligeti’s Le Grand Macabre in
its montage-like structure and ambiguous treatment of death. A Loudspeaker
announces in the prologue that the living can no longer laugh and the dying can
no longer lament. Harlekin, better known as Arlecchino, the commedia
dell’arte stock character, is so bored that he begs Death to his
duty. But Death has decided to condemn mortals to eternal life. Kaiser Overall,
whose resemblance to Hitler prevented further rehearsals of the opera in the
summer of 1944, is informed by telephone of a plague whereby none of his
soldiers can die. Only when the war is over does Death, “the
gardener…the final lullaby,” deliver the world from pestilence.
The story further includes a drummer, a soldier and a girl named Bubbikopf.
Kyungho Kim as Harlekin | Ein Soldat, Gyula Orendt as Kaiser Overall and Alin Anca as Der Lautsprecher | Der Tod
The Staatsoper staging by Mascha Pörzgen, seen January 29 at the
company’s Werkstatt, a small wing used for new music theater,
recreates the opera’s surreal qualities while maintaining a tasteful dose
of aesthetic restraint. The roles of Death and the Loudspeaker are cast with a
single bass-baritone (the tireless Alin Anca), who is wheeled in on a
motor-driven stool before revealing the garb of terrorist-like solider. His
exchanges with the sad clown-faced Harlekin are appropriately ambivalent, while
the Drummer assumes the presence of a caricature as she walks through the scene
beating wooden spoons mid-air. Kaiser Overall is a psychotic bureaucrat who
occupies the only hollow space in an all-white set (designs by Cordelia
Matthes). The proscenium moves in closer to the audience following
Harlekin’s eerie lullaby “Schlaf, Kindlein, schlaf.”
The cast, all members of the Staatsoper’s international opera studio,
gave a tight, convincing performance despite vocal unevenness. Anca carried the
show with theatrical verve and a booming bass that at times risked being too
loud for the space. As Harlekin and the soldier in the third scene, Kyungho Kim
did not rise to the same standards of sound quality and diction but was a
moving presence. The soprano Rowan Hellier gave a stand-out performance as the
Drummer, while Narine Yeghiyan, in the role of Bubbikopf, at times sounded
strained. Gyula Orendt gave an earnest performance as the Kaiser. Felix Krieger
led an elegant reading of the score with an ensemble of the Staatskapelle,
although the musicians’ position on a landing to the side of the stage
was not always ideal acoustically (drowning out Orendt in his final aria, the
very Mahlerian ‘Von allem, was geschieht’).The unearthly final
chorus could have been drawn out with more nostalgia, while the counterpoint of
a repeated, descending violin melody gave chills down the spine.
Der Kaiser von Atlantis runs through February 9.