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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Elizabeth Connell [Photo by Clive Barda]
28 Apr 2013

Elizabeth Connell Memorial Concert, St John's Smith Square

St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.

Elizabeth Connell Memorial Concert, St John's Smith Square

A review by Robert Hugill

Above: Elizabeth Connell [Photo by Clive Barda]

 

Connell was South African born, based on London for much of her career and with strong ties to Australia, so that the friends and pupils who came together at St John’s Smith Square on 27 April 2013 to celebrate her memory were many and varied.

Proceedings opened with Aivale Cole, one of Connell’s pupils, singing an unaccompanied traditional Samoan piece Lota Nu’a, a powerful and affecting way to open.

Kathryn Harries was the master of ceremonies, introducing items, reading extracts from Connell’s obituary and providing other memories as well as contributing her own solo. The first half of the concert consisted of extracts from operas which were associated with Connell. Sylvie Valayre opened things with "La luce langue" from Verdi’s Macbeth accompanied by Phillip Thomas. A highly dramatic and vivid performance, displaying Valayre’s strong, dark toned voice. The result was sometimes rather stormy and lacked the superb sense of line that I remember from Connell’s own performance of the role.

Veteran tenor Thomas Moser sang "Mein lieber Schwann" from Wagner’s Lohengrin. A very heroic yet beautiful performance, Moser singing with a fine sense of line, burnished tone and ringing top. Baritone David Wakeham contributed Nabucco’s "Dio di Giuda" from Verdi’s opera, singing with a lovely line combined with a vibrant voice and expressive phrasing. He was accompanied by Mark Packwood. Kathryn Harries sang the Kostelnicka’s "Co chvila" from Janacek’s Jenufa. The Kostelnicka was a role which Harries shared with Connell. Harries gave us an intense scena, dramatic and rather brilliant.

After readings for Connell’s obituary in the Guardian, Richard Wiegold sang King Mark’s "Wozu die Dienste ohne Zahl" from Tristan und Isolde accompanied by Stephen Rose. This was a very fine, complex and profoundly moving performance. Wiegold singing with a lovely dark, burnished voice. Tenor Stuart Skelton, with Phillip Thomas at the piano, performed Florestan’s "Gott, welch Dunkel hier" from Beethoven’s Fidelio. Skelton sang with lovely, bright ringing tones, combining power with intensity and subtlety.

The last item in the first half was a role which Connell had come to rather late, but which had become one of her core roles, Turandot. Her pupil, Elisabeth Meister, sang Turandot’s "In questa reggia". Though I never heard Connell as Turandot, Meister’s gleaming tone and superb sense of line recalled what I remember of the virtues of Connell’s singing. It was a vibrant performance, implacable yet not strident, with impressive evenness of control.

For the second half, the concert tried to encompass other aspects of Connell’s character and art, starting with her sense of humour. We opened with a remembrance of her from Peter Robinson, then Robinson and Linnhe Robinson (members of a dining club with Connell), playing the Faure / Messager Souvenirs de Bayreuth. A delightful way of including to a reference to the Ring cycle in the concert (Brunnhilde and Sieglinde being amongst Connell’s roles).

Further humour followed, with Yvonne Kenny giving a delightful performance of Gershwin’s By Strauss accompanied by Linnhe Robertson. A masterly performance with a lovely shaped line combined with a fine attention to the words.

Fiona James, who had sung Adalgisa to Connell’s Norma on tour in Australia, gave us some charming examples of Connell’s sense of humour. James went on to announce details of the Elizabeth Connell Prize. Under the terms of Elizabeth’s Connell’s will, this is to encourage and assist aspiring dramatic sopranos of the world. The final of the inaugural competition will take place in 2014 in Sydney when five singers will compete for a prize of 20,000 Au$. The Joan Sutherland and Richard Bonynge Foundation will administer the prize, and in fact Richard Bonynge was present at the concert in St John’s Smith Square.

More humour followed, with David Wakeham returning, accompanied by Mark Packwood, to give masterly performances of Tom Lehrer’s She’s my girl and I take your hand in mine, with nicely pointed words combined with a lovely line and a wonderfully deadpan manner.

Connell’s work as a recitalist was honoured in the next segment of the programme. Christine Teare and Mark Packwood gave a big-hearted performance of Richard Strauss’s Allerseelen. Morgan Pearse, accompanied by Eugene Asti, displayed an amazingly dark and vibrant baritone voice in a moving performance of Finzi’s Fear no more the head of the sun.

Penelope Randall-Davis, accompanied by Stephen Rose, gave a vibrant account of Handel’s "Ma quando tornerai" from Alcina. Jeffrey Black and Eugene Asti gave a rather operatic performance of Schubert’s Standchen. Tessa Uys, a friend of Connell’s from South Africa, gave a poetic account of Schubert’s Impromptu in G flat, D 899.

Turkish soprano Tulay Uyar is another of Connell’s pupils. She has a lovely bright toned lyric voice and gave a vividly dramatic account of "Tiger! Wetze nur die Klauen" from Mozart’s Zaide, accompanied by Richard Hetherington. Two Massenet songs came next. Tenor Julian Gavin and Linnhe Robertson in "Pensée d’automne" and Sally Silver and Eugene Asti in a lovely account of "Ivre d’amour".

Thomas Moser, accompanied by Phillip Thomas, sang "She walks in loveliness" by Ernest Charles. And the solo contributions concluded with Sally Silver accompanied by Tessa Uys singing a traditional South African lullaby "Thula Thula", a song associated with Connell’s youth.

Proceedings concluded with all the singers returning to sing the chorus "Va, pensiero" from Verdi’s Nabucco conducted by Peter Robinson with Stephen Rose at the piano. A fine conclusion to a memorable concert in memory of a fine artist.

Robert Hugill


Programme::

Elizabeth Connell Memorial Concert
Samoan Traditional: Lota Nu’u
Verdi: La Luce langue (Macbeth)
Wagner: Mein liebe Schwan (Lohengrin)
Verdi: Dio di Giuda (Nabucco)
Janacek: Co Chvila (Jenufa)
Wagner: Wozu di Dienste ohne Zahl (Tristan und Isolde)
Beethoven: Gott, welch Dunke hier (Fidelio)
Puccini: In questa reggia (Turandot)
Faure/Messager: Souvenirs de Bayreuth
Gershwin: By Strauss
Tom Lehrer: She’s my girl
Tom Lehrer: I take your hand in mine
Richard Strauss: Allerseelen
Finzi: Fear no more the heat of the sun
Handel: Ma quando tornerai (Alcina)
Schubert: Standchen
Schubert: Impromtu in G flat, D 899
Mozart: Tiger! Wetze nur di Klauen (Zaide)
Massenet: Pensee d’automne
Massenet: Ivre d’amour
Ernest Charles: She walks in loveliness
Trad: Thula Thula
Verdi: Va, pensiero, (Nabucco)

Aivale Cole (soprano)
Sylvie Valayre (soprano)
Thomas Moser (tenor)
David Wakeham (baritone)
Kathyrn Harries (soprano)
Richard Wiegold (bass)
Stuart Skelton (tenor)
Elisabeth Meister (soprano)
Yvonne Kenny (soprano)
Christine Teare (soprano)
Morgan Pearse (baritone)
Penelope Randall-Davies (soprano)
Jeffrey Black (baritone)
Tulay Uyar (soprano)
Julian Gavin (tenor)
Sally Silver (soprano)
Peter Robinson (conductor/piano)
Phillip Thomas (piano)
Mark Packwood (piano)
David Gowland (piano)
Richard Hetherington (piano)
Stephen Rose (piano)
Linnhe Robertson (piano)
Eugene Asti (piano)
Tessa Uys (piano)
St. John’s Smith Square, London
27 April 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):