Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
04 May 2013
Sarah Connolly: French Song at Wigmore Hall
The big names were absent: Duparc, D’Indy, Debussy, Ravel
and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Beginning with three songs by Albert Roussel, mezzo-soprano Sarah Connolly and pianist Malcolm Martineau revealed the pervasive influences on French music and chanson at this time - the impressionistic cascading textures and drifting harmonies of Debussy, and the provocative rhythms and piquant harmonic twists of the music of Spain. In ‘Le bachelier de Salamanque’ (The Salamanca student), Martineau’s dry ripples, which occasionally expanded into outburst of warmth and colour, propelled the music forward, building to a poignant glissando flourish at the close which highlighted the pathos of final lines.
Here, and in the following ‘Le jardin mouillé’ (The drenched garden), Connolly modulated her tone to suggest something tantalisingly in-between indifferent and erotic, the French exquisitely pronounced. The joyous chords which open ‘Nuit d’automne’ (Autumn night) conveyed the richness of the golden sunset described - “the golden trees it stains with red” - but contrasting with this effulgence, Connolly found a sweetness to suggest the tenderness of love: “The dusk, on the roses,/ is so pure, so calm and so sweet,/ that noto one of them has closed - / and I pick one for you”. The tranquil sensuality of the close was deeply stirring: “and is still so warm/ that you could fall asleep naked.”
Fauré’s 'Le jardin clos' (The closed garden) followed. ‘La Messagère’ (The Messenger) aptly conveyed fleetness and vigour, through the energised nimble accompaniment, reaching vocal heights with the discovery of the beloved, “and her flower eyes open,/ resplendent in golden laughter”. Connolly’s burnished lower register mingled with Martineau’s rich accompaniment in ‘Dans la Nymphée’ (In the Grotto) while ‘Dans la pènombre’ (In the half-light) presented an insouciant contrast. Martineau was a typically sensitive accompanist throughout, never overwhelming the mezzo-soprano, even in the more tumultuous ‘Il m’est cher, Amour, le bandeau’ (My Love, the blindfold is dear to me). The gentle modalism of ‘Inscription sur le sable’ (Inscription in the sand) was most affecting.
Ernest Chausson’s theatrical ‘Chanson perpétuelle’ (Song without end) closed the first half of the recital; Martineau and Connolly balanced a symphonic majesty with delicate exchanges and reserved intimacy.
Though performed with consummate artistry and technical assurance, one couldn’t help feeling that the repertoire of the first part of this French sojourn was a little lacking in both variety and expressive depth. This is perhaps because of the innate equanimity and serenity of the material; but, Honegger’s Petit cours de morale (A little course in morals) offered a welcome epigrammatic diversion. Connolly’s focused low register was put to good effect in ‘Jeanne’, while ‘Adèle’ revealed the performers’ ability to derive the utmost variety of mood within the miniature form. Martineau’s slithering pianissimo gestures lent an ironic nonchalance to ‘Cécile’; and Connolly enjoyed the jazz-enthused vibrancy of ‘Rosemonde’, the closing phrase suggesting a world of possibility: “If you wish to discover the world/ close your eyes, Rosemonde”.
Poulenc’s passion for the poetry of Federico García Lorca was heartfelt but the composer professed: “What difficulty I have in showing my passion for Lorca in music”, “these three songs are of little importance in my vocal work”. He was referring to his Trois chanson de Federico García Lorca. Despite this authorial dismissiveness, the performers brought a thoughtful coherence to the three songs: ‘L’enfant muet’ (The dumb child) was marked by fragile tentativeness, ‘Adelina à la promenade’ (Adelina out walking) by a restless energy, and ‘Chanson de l’oranger sec’ (Songs of the dried-up orange tree) by a resonant nobility and declamatory grandeur.
Martineau made much of the musico-drama of the piano introduction to André Caplet’s ‘La croix douloureuse’ (The cross of pain); Connolly’s languid tone suggested the effort required by the poet=speaker to articulate his distress. Caplet’s accompaniment exploits the deep resonances of the piano and the contrasts between sonic reverberation and sparse brittleness, and the performers made much of the hollow self-sacrifice of the martyred protagonist: “I bow my head and I accept
the cross with which you assail me”.
Eric Satie’s Trois poems d’amour are characteristically dry and detached; Connolly and Martineau did not attempt to inject overly mannered nuances, but found some expressive meaning in the small gestures - such as the animated rising octave at the end of a phrase, or the oddly fanciful piano interjection.
Joseph Turina’s 'Tres arias' brought the concert to a close. In ‘Romance’, Martineau’s incessantly dramatic accompaniment was notable for the astonishing evenness of touch as the bass drove the music forward with muscular energy. In ‘El pescador’ (The fisherman) Connolly found an exquisite serenity to convey the fisherman’s alluring call to the fishermaiden: “come down to the shore/ and listen with delight/ to my song of love”.
The performance was marked by scarcely a blemish. But, while the technical accomplishments on display were unequivocal, and there was much intriguing and infrequently encountered material to digest, there was also perhaps a sense that we had not experienced the heights of Gallic representation of this varied and troubled epoch.