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

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

OPERA TODAY ARCHIVES »

Performances

Gareth Brynmor John - Baritone [Photo courtesy of the artist]
21 May 2013

Gareth John, Wigmore Hall

Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.

Gareth John, Wigmore Hall

A review by Claire Seymour

Above: Gareth Brynmor John - Baritone [Photo courtesy of the artist]

 

This Wigmore Hall recital, with pianist Matthew Fletcher, presented a varied programme and revealed a confident and technically accomplished performer.

We began with Schubert, four settings of Mayrhofer and one by Heine which share a ‘watery’ theme. Fletcher’s exuberant opening hurled us straight into the wind and storm of ‘Der Schiffer’ (‘The Skipper’) as the protagonist battles with the teaming rain and lashing waves. John’s strong voice was a more than equal match for the turbulent weather and waves; the tone was, however, rather unyielding at times and it took a little while for the intonation to settle. In ‘Der Strom’ (‘The Stream’), the baritone used the text effectively, the expression ardent and moving. Best of the bunch was ‘Wie Ulfru fischt’ (‘How Ulfru fishes’); here John found a wider tonal palette which he used to inject drama into the battle of wits between man and fish. Some intelligent, controlled rubato in the final stanza initiated a more meditative mood, as the poet-speaker reflects on the brevity and unpredictability of life: “Die Erde ist gewaltig schön,/ Doch sicher ist sie nicht” (“The world is certainly beautiful/, But safe, it is not”).

Fletcher was alert to textural details and the accompaniment enhanced both the mood and the narrative of the poetry. In ‘Auf der Donau’ the rapid left-hand motifs were deftly articulated, imitating the rippling waves, while at the close a more lyrical mood captured the prevailing melancholy and vulnerability.

A well-shaped performance of ‘Nachtstck’ (‘Nocturne’) concluded the Schubert sequence, throughout which John’s accurate delivery of the text was exemplary. He produced a consistently clear vocal line too. It’s a big voice, and a warm one, with a very full, rich sound; the tone is evenly sustained across the range, with exceptionally focused lower register. Now, more diversity of tone, colour and weight would add even greater nuance and depth.

An earnest, urgent reading of ‘Es liebt sich so lieblich im Lenze!’ (‘How lovely to love in spring!’) initiated a series of songs by Johannes Brahms. The powerful assertion of this opening song contrasted with the poignant softness of the yearning lover’s reflection, “Keine Ferne kann es heilen,/ Nu rein holder Blick von dir” (“No distance can heal it,/ Only a loving glance from you”) in ‘And den Mond’ (‘To the moon’), where the rich shimmering accompaniment effectively delineated the silvery, shimmering rays of the moon.

‘Minnelied’ (‘Love Song’) and ‘Willst du, daß ich geh’?’ (‘Do you want me to go?’) were both characterised by fervour and passion, the vocal phrases well-crafted, the accompaniment full of drama and energy. In contrast, ‘Geheimnis’ (‘Secret’) was wonderfully tender, John using registral contrasts to exploit different colours which were complemented by the arpeggiated accompaniment. The performers captured the folk-like simplicity of ‘Sonntag’ (‘Sunday’), making much of the brief, pianissimo twist to the minor mode. The final stanza of ‘Da unten im Tale’ was similarly poignant and contemplative, as the poet-speaker poignantly wishes his former love farewell: “Un I wünsch, daß dir’s anderswo/ Besser mag gehn” (“And wish that elsewhere/ You might fare better”).

The second half of the recital moved from the nineteenth to the twentieth century, beginning with Maurice Ravel’s Don Quichotte à Dulcinée, a set of three songs (‘Chanson romanesque’, ‘chanson épique’ and ‘chanson à boire’). This was the last work that Ravel completed before his death in 1937. Each song employs a different Spanish dance rhythm to portray Don Quixote as first a noble lover, then a devout soldier and finally a raucous, rabble-rousing drinker. Fletcher’s accompaniment was full of Iberian fluidity and charm, although John’s French was less idiomatic than his flawless German and his voice a little too weighty and unbending to capture the spontaneity and impulsiveness of the madcap Quixote.

John’s rendering of Ralph Vaughan Williams’ Songs of Travel was a noteworthy element of his winning Kathleen Ferrier Award performance, and to conclude the programme he offered an incisive and vigorous account of these R.L. Stevenson settings, one which consistently emphasised the freshness of the texts. ‘The Vagabond’ established a driving momentum, but in ‘Let Beauty Awake’ John’s vocal line unfolded more gently above the piano’s arabesques. The final verse of ‘The Roadside Fire’ was delightfully expansive, as the traveller reflects on the private moments that he and his beloved will share: “And this shall be for music when no one else is near,/ The fine song for singing, the rare song tor hear.”

An uplifting airiness characterised ‘The Infinite Shining Heavens’, the supple undulations of the accompaniment creating a magical soundscape suggesting the “Uncountable angel stars/ Showering sorrow and light”. John conveyed a true sense of enchantment and wonder in the final lines: “Til lo! I looked in the dusk / And a star had come down to me.” The strophic repetitions of ‘Wither Must I Wander?’ reminded us of the headlong march of the opening song, but here the journey onwards was tinged with sadness in recognition that while “Spring shall come, come again”, for the traveller the past will never be re-visited: “But I go for ever and come again no more.” John countered this sorrow in the following ‘Bright’, the declamation of the title word ringing with hope and positivity. The concluding ‘I have Trod the Upward and the Downward Slope’, with its arioso recollections of fragments of the preceding songs, brought the recital to an affecting, moving close.

Claire Seymour


Programme:

Schubert: ‘Der Schiffer’, ‘Auf der Donau’, ‘Der Strom’, ‘Das Dischermädchen’, ‘Wie Ulfru fischt’, ‘Nachtstück’; Brahms: Fünf Gesänge Op.71, ‘Sonntag’, selection from 49 Deutsche Volkslieder; Ravel: Don Quichotte à Dulcinée; Vaughan Williams: Songs of Travel. Gareth John, baritone; Matthew Fletcher piano. Wigmore Hall, London, Thursday, 16th May 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):