Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

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.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

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.

Purcell: A Retrospective

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.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

OPERA TODAY ARCHIVES »

Performances

Toby Spence [Photo © Mitch Jenkins]
13 Oct 2013

Toby Spence, Wigmore Hall

‘All Life death does end and each day dies with sleep.’ The sentiments of the closing lines of Gerald Manley Hopkins’ sonnet, ‘No worst, there is none.

Toby Spence, Wigmore Hall

A review by Claire Seymour

Above: Toby Spence [Photo © Mitch Jenkins]

 

Pitched past pitch of grief’, embody the connecting theme of this recital: the metaphysical convergence of twilight and death. However, tenor Toby Spence and pianist Julian Milford presented texts pondering the connection between the external landscape and the inner mind which offered a wider range of experiences than Hopkins’ emotional descent into blackness and grief, soothing us with glimpses of peace, consolation and hopes for regeneration.

Sleep, death and dreams were recurring images in Benjamin Britten’s oeuvre, and the composer’s arrangement of the folksong, ‘At the mid hour of night’, introduced us in restrained fashion to the evening’s theme. Sombre, intoning 5ths in the piano bass tolled the midnight hour. Spence began gently, even a little reticently; the diction was clear, the voice tender but perhaps lacking sufficient characterisation to draw out the magical ecstasy of the brief narrative. A flourish from Julian Milford, sudden and elusive, gave presence to the wild song ‘which once ’twas rapture to hear’.

Schubert’s ‘Gesänge des Harfners’, settings of two songs sung by the peculiar harper in Goethe’s novel Wilhelm Meister’s Lehrjahre, followed, Milford quietly strumming the strange harmonies of the opening spread chords of ‘Wer sich der Einsamkeit ergibt’ (Who gives himself to loneliness) and establishing an eerie air. Goethe’s eponymous hero has visited the old harper in the hope that he might learn how to dispel his loneliness, and Spence inflected a moving melancholy note, spinning and sustaining a beautiful pianissimo line, dynamics and breathing perfectly controlled. The fairly restrained emotions of this song, were swept away by the restless piano introduction to ‘Wer nie sein Brot mit Tränen aß’ (Who never ate his bread with tears), and by the earnest desperation of the opening vocal lines, ‘Wer nie die Kummervollen Nächte/ Auf seinem Bette Weinend saß’ (who never through the anxious nights/ sat weeping on his bed); here Spence gave us the first glimpse of the depth of characterisation and elucidation that he can bring to even the briefest song. The second stanza build through a powerful crescendo, eerie repetitions focusing the text’s emotional agitation, complemented by strong harmonic assertions in the piano.

Spence was not entirely comfortable in the third of the set, ‘An die Türen’ (I’ll steal from door to door), sounding a little strained in the sustained higher lying lines, but the subsequent hymn-like ‘Im Abendrot’ had a beautifully soft ethereality enriched by glimmers of the golden radiance and red glowing of the setting sun. The final verse faded with quiet resignation into an acceptance that ‘dies Herz, eh’ es zusammenbricht,/ Trinkt noch Glut und schlürft noch Licht’ (this heart, before it breaks, shall still drink fire and savour light).

The graceful arcs of Milford’s accompaniment introduced Beethoven’s ‘Adelaide’ in which the constancy and devotion of the lover is expressed through imagery of natural sublimity, modulated only by the evening breezes and thoughts of the flowers which will bloom on the lover’s grave which inject a hint of sorrow. This was a confident, dramatic interpretation: Spence brought an ardent vigour to the visions of nature’s splendour, building to a quasi-operatic close: the resonant image of the purple leaves which will adorn the narrator’s resting place shimmering with the name, ‘Adelaide!’, was matched by the resounding intensity of the vocal delivery. ‘Ich liebe dich’ is a gentler love song, but Spence injected much feeling into the opening rising 6th, making the most of a simple gesture to convey the song’s modest truthfulness. Milford lyrically introduced new melodic material in the second stanza, and the naturalness of the interplay between voice and accompaniment created a mood of calm, before the diffident return of the initial vocal phrase to begin stanza three. The arching melodies of the coda and the repetition of the final lines of text, reassured us of God’s blessing and protection.

Brahms’ well-known ‘Wiegenlied’ (Cradle song) was delivered without sentimentality; the pace was fairly slow, the textures rich, the piano’s swinging rhythms redolent of the blanketing nocturnal presence which embraces the sleeping child’s crib. Spence’s delicate pianissimo at the start of the second stanza evoked the otherworldly translucence of the angels who watch over infant’s dreams. Dusk settled over the Wigmore Hall towards the close of the first half of the recital. In Brahms’ substantial song, ‘Abenddämmerung’ (Twilight), Milford skilfully conveyed the rich musical narrative which the complex and ever-changing accompaniment articulates. Recalling those once loved now lost, Spence imbued the closing verses with a meditative air, slowing the tempo for the final stanza and thoughtfully colouring the text; the harmonies darkened, before Milford’s perfectly placed major cadence reassured us once more of the union of heaven and earth which is reached through sleep and death. An assertive reading of Britten’s realisation of Purcell’s ‘Evening Hymn’ brought the first half to a close, the vigour of the repetitions, ‘Hallelujah’, reinforcing this spirit of hope and replacing the mood of calm with one of confident rejoicing.

The second half of the programme comprised Britten’s 1945 song-cycle, ‘The Holy Sonnets of John Donne’, and offered weightier, more fervent explorations of the theme, inspiring some wonderfully impassioned responses from Spence and Milford. The rhetorical pounding of the accompaniment in ‘Oh my blacke Soule’ was a disturbing death knell, and provided a springboard for Spence’s flexible melodic lines as he relished both the harmonic piquancy and the rhythmic disjunctures of Britten’s imaginative text setting. Once again the tenor’s impressive pianissimo in the final lines was touching, but this mood was roughly swept aside by the moto perpetuo of ‘Batter my heart’. The clarity, lightness and evenness of Milford’s scurrying accompaniment were noteworthy, and the unequivocal incisiveness of the ending shocking. In ‘O might those sighes and teares’ the performers made much of Britten’s response to the sonnet’s volta, the syncopated dissonant interplay of the first eight lines, with their mood of questioning unrest, giving way to the sparse and harrowing expressions of disconsolate despair with which the poem ends, powerfully conveyed by Milford’s thin high piano register and Spence’s slightly hollow vocal timbre.

‘Oh, to vex me’ was restless and mercurial, Spence’s voice fleetingly running through the text, concluding with a disconcerting melisma, ‘when I shake with fear’. ‘What if this present’ began and ended with arresting rhetorical gestures, although once again Spence exhibited some slight strain in the higher forte passages. ‘Since she whom I lov’d’ was wonderfully affecting, however, the major tonality and warm lyricism offering succour and relief. Spence revealed his ability to plunge the metaphysical depths of Donne’s complex verse in ‘At the round earth’s imagin’d corners’; after the minor key sombreness of the plea, ‘Teach me how to repent’, the penitent defencelessness of the unaccompanied final line, ‘As if thou had seal’d my pardon, with thy blood’, was chilling in its intensity.

An impetuous account of ‘Thou hast made me’ concluded magisterially, before the final sonnet, ‘Death be not proud’, provided quiet consolation: ‘And death shall be no more; death, thou shalt die.’

After what had been a fairly short programme, we were offered two encores which stayed true to the theme: Schubert’s ‘Nacht und Träume’ — a memorial for the poet, Matthäus von Collins, in which the singer lures the moon and the spirits to visit his dreams — and Britten’s arrangement of Purcell’s ‘Music for a while’ which gifts us the ultimate musical solace from life’s grief and fears.

The sustained warm applause was recognition not only the invention and richness of the interpretations we had enjoyed but also of the strong sense of good will and affection felt by the audience for a singer who must have faced his own dark questions during his recent recovery from thyroid cancer. While the publicity gush that through ‘a tough recovery process and personal introspection, Toby Spence has gained profound insights into the human condition’ may have been once step too far in the direction of pretentious twaddle, the recital revealed that there is no doubting Spence’s musical intelligence and artistry.

Claire Seymour


Programme:

Traditional arr. Benjamin Britten, ‘At the mid hour of night’; Franz Schubert, ‘Gesänge des Harfners’, ‘Im Abendrot’; Ludwig van Beethoven, ‘Adelaide’, ‘Ich liebe dich’; Johannes Brahms, ‘Wegenlied’, ‘Abenddämmerung’; Henry Purcell, ‘Evening hymn’ (realised Britten); Benjamin Britten, ‘The Holy Sonnets of John Donne’. Toby Spence, tenor; Julian Milford, piano. Wigmore Hall, London, Friday 11th October 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):