Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
Queens, Heroines and Ladykillers: A Tribute to Lorraine Hunt Lieberson
It must be both a privilege and a
daunting prospect to be asked to participate in a tribute concert to the
singer, who died from breast cancer in 2006; here three mezzo-sopranos stepped
up to the honour and the challenge, joining the Orchestra of the Age of
Enlightenment - with whom Hunt Lieberson collaborated closely at Glyndebourne
and on CD - celebrating three contrasting, full-blooded female roles from
Karine Deshayes (a late replacement for the indisposed Stéphanie
D’Oustrac) began and ended the evening with Sesto’s arias, ‘L’angue
offeso mai riposa’ (The offended serpent will not rest) and ‘Svegliatevi
nel core’ from Giulio Cesare respectively. Deshayes has a vibrant
voice, particularly at the top, and she nimbly negotiated the passage work.
But, while there was undoubted rage and impassioned purpose, she didn’t quite
capture the emotional depth and range of these arias, as Sesto vows vengeance
against Ptolemy for the assassination of his father.
Thus in Sesto’s first number in the opera, there was much bite in the
repetitions of ‘Svegliatevi’ (awaken) as Sesto determines to muster the
fury in his soul. Yet, in the central section of the da capo form, as Sesto’s
thoughts turn to the father he has lost only moments before, the heaviness in
his heart outweighs his impotent anger; there is vengeance but also grief.
William Christie drew a fittingly spare timbre from the accompanying OAE, but
Deshayes did not quite match the players’ melancholy, sombre weight.
‘Figlio’ (son) needs rather more plangent emphasis, as Sesto both implores
his father and imagines his paternal words of counsel and support.
In Glyndebourne’s 2006 production of Theodora, Hunt Lieberson
took the part of Irene, the protagonist’s devoted supporter. Irene’s arias
are intense, heartfelt statements of faith as her beloved friend, Theodora, an
early Christian, is persecuted and condemned by the Romans. Reviewing the live
recording of Peter Sellars’ acclaimed production, Rupert Christiansen
commented, ‘it is impossible to conceive of this character’s arias being
sung with more grave beauty or emotional commitment than [Hunt Lieberson]
brings to them’.
Quite a tall order, then, for Anna Stéphany, performing ‘Ah! Whither
should we fly’ and ‘Lord to Thee each night and day’. Stéphany combined
vocal beauty with convincing characterisation, Christie shaping the contrasting
tempos and textures with style but without undue mannerism. A gentle firmness
characterised the voice in ‘As with rosy steps’; Stéphany’s lower
register was rich and sonorous, and she dared to adopt a whispering
pianissimo to moving effect. In ‘Lord to thee’ Stéphany
introduced a startling change of character in the second part of the aria,
‘Though convulsive rocks the ground’, which served to make the profound
devotion of the da capo repeat yet more affecting.
‘Where Shall I Fly?’ from Hercules is a tour de force
of theatrical and histrionic drama and Renata Pokupić was almost equal to its
vocal demands. As Hercules’ jealous, fiery wife, she delivered Dejanira’s
desperate self-reproaches with an impressive combination of spontaneity and
control, but her lower range sometimes lacked power and penetration, and she
didn’t quite pierce the depths of Dejanira’s subconscious mind. Pokupić
encompassed the extensive melodic range of the virtuosic ‘Dopo Notte’
(After night), from Ariodante with skill, the registers more even
here, although the syncopated rhythms which drive the music forward sometimes
lacked precision. It was, however, a fine showcase for her communicative
panache; Ariodante’s exuberant joy at being reunited with his beloved Ginevra
was compellingly and upliftingly conveyed.
The Orchestra of the Age of Enlightenment provided an animated, responsive
accompaniment to all three soloists, William Christie finding a perfect balance
of grace and power. The emphatic playing by the celli and double basses in the
overture to Giulio Cesare - perhaps encouraged by the explosive
stamp with which Christie commenced some of the instrumental numbers! - was
complemented by more reflective bass meanderings in the overture to
Theodora. In the two concerti grossi there was considerable variety of
both texture and mood, and the playing of the three soloists was crisp and
rhythmically exciting. The relationship between soloists and ripieno
was one based upon sharing and exchange, the flow seamless, the tempi
invigorating. As a closing tribute to Hunt Lieberson, Christie announced an
encore; the diverse sentiments of the ‘Musette’ from Concerto Grosso Op.6
No.6 were a perfect homage to the singer’s artistry and integrity.
Giulio Cesare - Overture; ‘L’angue offeso mai
riposa’; Theodora - ‘Ah! Whither should we fly As with rosy
steps the morn’; Concerto Grosso in B minor, Op.6 No.12; Hercules
- ‘Whither shall I fly?’; Theodora - Overture; Lord, to
‘Thee each night and day’; Ariodante - ‘Dopo notte’;
Concerto Grosso in B flat, Op.3 No.2; Giulio Cesare - Svegliatevi
nel core. Royal Festival Hall, Southbank Centre, London, Monday 3rd