The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
Joyce DiDonato brought her Drama Queens tour to the Barbican Hall last night, 6 February 2012. Accompanied by Il Complesso Barocco, directed by Dmitry Sinkovsky, she enabled us to hear a wide range of arias by mainly Italian baroque composers from Monteverdi to Handel, by way of Porta, Cesti, Orlandini and Hasse.
Joyce DiDonato, Il Complesso Barroco, Dimitry Sinkovsky
Loosely linked by the Drama Queens theme — all the arias were sung by female characters under some sort of pressure, the concert was really a way of dusting off music which has been neglected, partly because of its technical demands. DiDonato gave us an evening of high drama and superb vocal technique in her own inimitable way.
Before I cover the concert in detail, I had better say something about the presentation. Though this was purely a concert, DiDonato sang everything from memory and presentation was highly dramatic, with some items running on from the previous one without applause. She wore an amazing red frock designed for her by Vivienne Westwood Couture (in fact the designer Vivienne Westwood can often be seen attending concerts at the Barbican Centre). It was such a complex and stunning piece of tailoring that it was difficult to believe that the fluid creation in which DiDonato first appeared was in fact the same dress as the highly structured, paniered neo-18th century frock in which she closed the concert. It was very much a modern evocation of 18th century style.
In one sense, Joyce DiDonato’s art is very similar to this; she remakes the 17th and 18th century music in her own style and image. She has the technical resources to perform these arias and does so in a very particular style. In the 18th century singers would remake arias or whole operas in their own image, and DiDonato is no different in the way she brings her highly evocative, stylised art to each aria.
This music was written for some of the finest singers of the day and requires a high degree of technical expertise to bring it off. Composers like Porta, Hasse and to a certain extent Handel, wrote arias which showed off a singers technical prowess to the most flattering extent. We must be grateful that singers of the calibre of Joyce DiDonato are prepared to take the time and learn this music and bring the arias to life. (For those Londoners interested in taking this further, note that one of Hasse’s operas will be performed complete at this year’s London Handel Festival).
DiDonato started with "Intorno all’idol mio" from Cesti’s Orontea. Antonio Cesti (1623 - 1669) was one of the most significant 17th century Italian opera composers of his generation, perhaps best known for his opera Il Pomo d’oro. His opera Orontea premiered in Venice in 1649. In Orontea’s act 2 aria she sings to her sleeping beloved. DiDonato was accompanied by just five instruments, allowing us to really appreciate the way Cesti’s vocal line intertwined with the two violins. Structurally the aria was far more flexible of form than 18th century Italian opera. DiDonato took advantage of this, giving a flexible, highly vivid account of the piece. Her voice had quite a rich depth to it which, combined with her beautiful sense of line, made for highly sensual listening.
Il Complesso Barocco, directed from the violin by Dmitry Sinkovsky, then played the sinfonia from Tolomeo by Domenico Scarlatti (1685 - 1757). This was in the standard fast-slow-fast form, with the band giving a crisply vivid performance. Here, and elsewhere, I did worry about they way the gusts of dynamics blew around the piece in a style which was highly dramatic but seemed a little too modern in sensibility.
"Disprezzata Regina" from L’Incoronazione di Poppea by Claudio Monteverdi (1567 - 1642) was the earliest item in the programme, and perhaps one of the best known. DiDonato was accompanied by just continuo (harpsichord, theorbo and bass) but the use of two cellos and a double bass on the bass line gave it a strength and emphasis which seemed a bit overdone.
DiDonato projected the text in an ideal manner, using Monteverdi’s vocal line fluidly and flexibly with a final section which was wonderfully incisive, as she spat out her accusations against the gods. DiDonato’s Ottavia was noble in her suffering, with none of the scheming bitch that some singers bring to the role.
The aria "Sposa, son disprezzati" from Merope (1734) by Germiniano Giacomelli (1692 - 1740) was so popular that Vivaldi included it in his pasticcio Bajazet performed in 1735 in Verona. In the aria Irene bemoans the fact that she loves her unfaithful husband, except that the text sung was from Vivaldi’s opera not the text Giacomelli set. Whatever, it was a lovely piece with a long slow vocal line over a string accompaniment which was slow but toe-tappingly catchy in the manner of Vivaldi.
Vivaldi’s Concerto for violin and strings, RV242 ‘Per Pisendel’ was written for Johann Georg Pisendel, the violinist director of the Dresden court orchestra. Pisendel was a very fine violinist and Vivaldi’s solo part must have given him much to do to show this off. In the graceful first movement the brilliant solo part was mainly accompanied by just continuo leaving the tutti violins to comment on the sidelines. The slow movement was one of Vivaldi’s glorious long breathed melodies over a simple accompaniment leading to a final movement which went with a swing and provided the soloist with plenty of opportunities to shine. This Dimitry Sinkovsky did, treating us to some stunning playing.
Part one ended with "Da torbida procella" from Berenice by Giuseppe Maria Orlandini (1676 - 1760). This was a simile aria, the singer is tossed like a ship in stormy seas but with the beloved as her pole star to guide her. This was very much the diva having fun, sparking runs cascaded with clarity and apparent east, giving a lovely vivid picture of the happy Berenice.
Part two opened with an aria from a serenata by Johann Adolf Hasse (1699 - 1783) written early in his career, in Naples in the 1720’s. The premiere included the superstar castrato Farinelli, who sang the role of Cleopatra. In the aria Cleopatra explains that death holds no terrors for her. DiDonato did so in a highly commanding manner with some superbly executed passagework. Il Complesso Barocco’s crisp accompaniment again had dynamics full of bulges and rushed climaxes.
Next came perhaps the best known aria in the concert, "Piangero" from Handel’s Giulio Cesare in which Cleopatra lamented her fate. Handel (1685 - 1759) wrote the opera in 1724 for the castrato Senesino and Francesca Cuzzoni. DiDonato had entire command of the aria’s lovely long lines, with the middle section vividly dramatic before the da capo was sung in hushed, white tones on a thread of voice - very effective if not necessarily historically informed practice. But what worried me most was the feeling that she had to do something with each phrase, when leaving well alone would have worked well.
The orchestra followed this with the Passacaglia from act 2 of Handel’s Radamisto giving the work a nice bounce and showcasing some fine solo playing.
Giovanni Porta (1675 - 1755) worked all over Europe including in London in 1720. His last opera was Ifigenia en Aulide written in 1738. Ifigenia’s farewell to her mother was a slow piece which Porta gave something of a lilt to. DiDonato sang the elaborate vocal line in a rather touching manner, the result was richly textured and very moving. One interesting feature, at the da capo we heard the entire da capo played though with a solo violin on the voice part, before the voice came in, an effective and imaginative touch.
Next came two movements of ballet music by Christoph Willibald von Gluck (1714 - 1787), a composer who wrote his own setting of the Iphigenia story. But here we heard two graceful movements from the ballet music from his 1777 Parisian opera Armide featuring some very fine flute playing.
Then finally "Brilla nell’alma" from Handel’s Alessandro. Written in 1726, it was the first opera he wrote for the pairing of divas Faustina Bordone and Francesca Cuzzoni. The aria was written for Bordone in the character of Rossane; in it Rossane is happy, very happy. And she shows this by singing an incredible sequence of runs, which DiDonato performed at an amazingly brisk tempo. Despite the technical challenges she looked as if she was having fun, a radiant end to the concert.
We were treated to three encores. First a little gem, "Lasica mi piangere" from Reinhard Keiser’s 1715 opera Fredegunda. Then another aria from Orlandini’s Berenice this time a vivid revenge aria, with lively accompaniment and brilliant vocals. Then finally the da capo of "Brilla nell’alma" from Handel’s Alessandro again, this time with even more elaborate ornaments.
I have to confess that I was in two minds about the whole Joyce DiDonato road show phenomenon - buy the CD, buy her previous CD’s, buy the printed music, have DiDonato sign your CD, but it is part and parcel of marketing a CD nowadays. And if such concert tours bring us music as stunningly performed as this, in highly imaginative programmes, then I can’t really complain.
Joyce DiDonato (soprano); Il Complesso Barocco; Dimitry Sinkovsky (director);
Antonio Cesti - Intorno all’idol mio (Orontea);
Domenico Scarlatti - Sinfonia (Tolomeo);
Claudio Monteverdi - Disprezzata regina (L’Incoronazione di Poppea);
Geminiano Giacomelli - Sposo, son disprezzata (Merope);
Antonio Vivaldi - Concerto for violin and strings, RV 242 ‘Per Pisendel’;
Giuseppe Maria Orlandini - Da torbida procella (Berenice);
Johann Adolf Hasse - Morete col fiero aspetto (Antonio e Cleopatra);
George Frideric Handel - Piangero (Giulio Cesare);
George Frideric Handel - Passacaglia (Radamisto);
Giovanni Porta - Madre diletta, abbracciami (Ifigenia in Aulide);
Christoph Willibald von Gluck - Ballet Music (Armide)
George Frideric Handel - Brilla nell’alma (Alessandro)
Wednesday 6 February 2013;
Barbican Centre, London