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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.
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.
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.
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.
20 May 2013
Brahms Third in San Francisco
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
It was an extraordinary evening at the opera, a perfect mise en scène (none) for San Francisco’s tyrannical maestro. The 70 member orchestra sat huddled in a black void and sang in one magnificent voice Brahms’ most lyrical symphony, its colors shining as never before, its moods of turgid Brahmsian contentment translocated into luminescent, metaphysical Latin lyricism.
It was opera, and this was understood by the audience who felt each movement as an extended aria, and unabashedly applauded each movement in unbridled appreciation of great singing. It was symphony as opera, the fifty-year-old composer spinning this famous yarn of contentment, its thematic play subsumed into joy of performance. Bel canto indeed.
The maestro can sometimes, even often be accused of imposing excessive drama, but Brahms offers him very little of it to manipulate. Thus the musical excess — and there was plenty of it — was limited to expected extreme tempo alterations and cantabile melodic exaggerations that illuminated and transfixed more than distorted an Alpine pastoral lyricism. Though it seemed a subdued Luisotti it was still a possessed Luisotti, a powerful conductor with a unique voice.
The Opera orchestra is known to be a very able ensemble, after all it performs the most difficult orchestral scores that exist. The sludgy sound of the War Memorial Opera House prevents perception of the beauty of its sound, sounds that until now we could only imagine. Though Zellerbach Hall is a dowdy acoustical space — the sound at first had a cavernous quality but once accepted it permitted the winds of the orchestra to sing with a beauty of tone reminiscent of the Vienna Philharmonic (yes, really it’s true). What the strings may lack in clarity of tone they make up in boldness, and this alone defines and qualifies this ensemble as a truly dramatic orchestra.
It was an evening of orchestral drama. Not least of which was the Nino Rota 1962 Piano Concerto in C major. Not much of Italian Fascist musical culture is around these days, but its heroic post-Romanticism certainly informed composer Rota’s musical formation and aspiration. Add this to the heady filmic creativity at mid-century Cinecitta and you have the sense of this musical relic. It challenged elegant French pianist Aldo Ciccolini at its premiere in 1987 but was a-piece-of-cake just now for 34 year-old Italian pianist Giuseppe Albanese (no relationship to Licia).
Dressed in formal wear with scarlet spats young Albanese visually startled, and then attacked the American Steinway with the confidence of a finished post-Boulez virtuoso and a highly intelligent contemporary musician. Like Luisotti pianist Albanese was possessed by the music, the mechanics of the score and its execution played out physically and intellectually in full view, or let us say a vista. It was pure theater of musical performance. Mr. Albanese is also Professor of Philosophy at the University of Messina where he teaches the “methodology of musical communication.”
The Rota concerto was Prokofiev, Rachmaninoff and Tchaikovsky but more so it was the myriad moods that composer Rota mined for films ranging from 8 1/2 to Godfather. These moods were often conversations between the piano and an instrument of the orchestra, raptly and rapturously executed in an atmosphere of absolute artistic collaboration imposed by the maestro.
The audience roared (yes, it was a vocal opera audience), and brought Albanese back for curtain calls. But two were enough for these lovers of voices. Never mind. This determined artist came back unsummoned to perform four encores — to our great pleasure! The highlights were Scriabin’s Left Hand Nocturne played with his downstage arm (the right one) hanging limply, and a version (showers of notes) of Gershwin’s song The Man I Love created by American piano virtuoso Earl Wilde.
Conductor Luisotti opened the program with Puccini’s 1883 Capriccio Sinfonico. From this early work Puccini literally recycled the flashier moments to La boheme (1896) and even Suor Angelica (1918). It served as a perfect, amusing overture to the evening.