Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

OPERA TODAY ARCHIVES »

Performances

Photograph by Britt Olsen-Ecker
25 May 2013

Baltimore Premieres Camelot Requiem

In May of 2013, the Spire Series at the First Presbyterian Church in Baltimore, Maryland, observed the fiftieth anniversary of the death of President John F. Kennedy by presenting a work dealing with the 1963 assassination.

Baltimore Premieres Camelot Requiem

A review by Maureen L. Mitchell

Above: Photograph by Britt Olsen-Ecker

 

Grief is the word that came to mind during the world premiere of composer Joshua Bornfield and librettist Caitlin Vincent’s original opera, Camelot Requiem. In May of 2013, the Spire Series at the First Presbyterian Church in Baltimore, Maryland, observed the fiftieth anniversary of the death of President John F. Kennedy by presenting a work dealing with the 1963 assassination. The librettist is the Artistic Director of The Figaro Project, a group formed to promote local artists and affordable opera. The two-act work, which incorporates a Requiem Mass, was performed with a six-piece orchestra from the Peabody Conservatory of the Johns Hopkins University School of Music was conducted by Blair Skinner. The cast, also from Peabody, included: Caitlin Vincent as Jacqueline Kennedy, Nathan Wyatt as Robert Kennedy, Alex Rosen as Lyndon Johnson, Lisa Perry as Lady Bird Johnson, Jeremy Hirsch as Dr. Burkley, Kate Jackman as Nurse Hutton, and Stephen Campbell as the Reverend Oscar L. Huber.

The opera depicted the horror of the time with a powerful musical performance punctuated with dissonance and silence. Taylor Boykins, a first year Peabody student who was at the performance, said, “The text is raw - kind of graphic.” The opening chords sent shivers down my spine when they combined with the ringing of bells and chanting. As Jacqueline Kennedy, Vincent was costumed in a bright pink suit, matching pillbox hat and bloodstained white gloves. With her dark hair and attractive demeanor, she resembled the first lady as her lush sound soared above the musical depiction of the events that took place at Parkland Memorial Hospital in Texas and the Bethesda Naval Hospital in Maryland. Bornfield had unleashed his composition on a potent libretto.

Through the thunderous performances of Wyatt as Robert F. Kennedy and Rosen as L. B. J., the audience got a glimpse of the transfer of presidential power in the midst of the nation’s emotional shock following the assassination. Andrew Posner, 20, an undergraduate composition student of at Peabody said that Bornfield’s style was unique and his orchestration fantastic. Vincent drafted the libretto in October 2011 from three poems she had written from Mrs. Kennedy’s perspective on the day of her husband’s death. She developed one of them, entitled Rose, into a melancholy aria. To obtain her material, she researched oral interviews, Lady Bird’s personal diary and condolence letters sent to Mrs. Kennedy. When operagoers arrived at the church and they were handed programs and reproductions of sympathy notes sent to Mrs. Kennedy from around the world.

While the action moved on and off the church altar, the deliberate cacophony, bursting harmonies, and the magnificent baritone voice of Wyatt as RFK convinced the audience that a “New Frontier” was imminent. Perry as Lady Bird offered relief from the tension by infusing the opera with a warm and casual 1970’s song. Conductor Skinner, a DMA candidate at the Peabody, said that when you have a piece of music that no one has heard before and ten individual voices, each of which does something individualistic, the process is grueling but the hard work makes the effort extremely rewarding. Jackman as Nurse Patricia Hutton expressed emotional intensity with the weight of her soothing mezzo-soprano voice. As Mrs. Kennedy, Vincent sang that she would like to wake up from this nightmare. Her sorrow came across to the audience when she sang that she would rather die with her Jack than live without him. The final Lux Aeterna, sung by the cast from the balcony to Mrs. Kennedy who was standing below, left audience feeling comforted by angels.

Maureen L. Mitchell

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):