23 Oct 2013
Angel Blue, Wigmore Hall
Having impressed UK audiences in La Boheme (for ENO) and American Lulu (for the Opera Group/Scottish Opera),
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Having impressed UK audiences in La Boheme (for ENO) and American Lulu (for the Opera Group/Scottish Opera),
Californian soprano Angel Blue made her much anticipated recital debut at the Wigmore Hall for Rosenblatt Recitals on Monday 21 October 2013. Accompanied by pianist Catherine Miller, Angel Blue sang a programme which opened with the Alleluia from Mozart's Exsultate Jubilate, continued with songs by Richard Strauss and Sergei Rachmaninov, then moved into the opera arias by Gershwin, Chapi, Puccini, Wagner, Cilea, and Verdi.
Judging by her repertoire and recent roles (Musetta, Lulu, Lucia di Lammermoor, La Traviata ) I had assumed that Angel Blue would have a voice which was in the lyric/soubrette/coloratura range but not a bit. She has a bright, vibrant voice which is admirably even throughout the range including a fine upper extension and she combines easy facility and flexibility with remarkable power. This was a voice which, when she opened up, filled the Wigmore Hall. Her inclusion of Dich teure Halle from Wagner's Tannhäuser made complete sense in the context of her vocal capacity. And I certainly agree with those who have compared her to a young Leontyne Price.
I have to confess that I found it felt a bit odd, starting the programme with the final movement of Mozart's Exsultate Jubilate, that said Angel Blue sang it with a nice freedom and evenness in the passagework and some beautifully integrated acuti. It made me regret that she didn't give us the whole motet.
Next came a group of Richard Strauss songs. In Heimliche Aufforderung she sounded radiant, displaying a warm personality in the way she brought out the narrative character of the piece and rising to a vibrantly rapturous climax. Die Nacht received a nicely intent performance with beautifully floated top notes, all sung with poise. There was a naturalness to her delivery of Allerseelen which brought out the conversational nature of the song. Wie sollten wir geheim sie halten came over with great charm and delightful characterisation. The final song in the group, Befreit, she dedicated to the memory of her father. The gave the song an intense and serious performance with a nice melodic sweep.
In all the songs, Angel Blue's performance was highly characterised and she has great charm on stage, though sometimes when she allowed her voice to open up the songs veered as little towards the operatic. All were sung with a lovely surface beauty and gleaming tone, but I did find that said that her German sounded rather occluded.
Her final group of songs in the first half were all by Sergei Rachmaninov. Here the composer's rather more heart on sleeve style seemed to suit Angel Blue's generous performing style and she seemed really at home in these songs in a way that she hadn't in the Strauss. In Ne poy, krasavitsa, pri mne (Oh, do not sing, by beauty, to me) we had the haunting melancholy of the song offset by the beauty and rich vibrancy of her voice, with lovely hints of the exotic both in the melody and in Catherine Miller's accompaniment.
Rachmaninov's Vocalise showed the full beauty of Angel Blue's voice, combining a nice evenness of line with a fine upper register. Zdes’khorosho (How peaceful it is here) was a charming piece, with Angel Blue giving the song a strong narrative feel combined with some lovely high notes. Finally Vesenniye vodi (Spring Waters), again with a strong narrative sense, lovely vibrant, gleaming tones and rapture at the climaxes.
After the interval Angel Blue reappeared with a new dress, a new hairstyle and something of a new attitude; here her delivery relaxed as she clearly enjoyed the opportunities that these operatic arias gave her. Each aria was a little dramatic scena and Angel Blue's delight and charm radiated the performances.
Summertime from Gershwin's Porgy and Bess was poised and perfect, the way she slid into the first note of the piece was a complete delight. This was a very affecting and captivating performance, full of personality. This sense of personality continued with Las Carceleras (The Prisoners' Song) from Ruperto Chapi's zarzuela Las hijas del Zebedeo (The Daughters of Zebedee). This was something of a tour de force, charming and sexy and brilliantly put over.
We changed pace somewhat with the next two items, both of which allowed us to hear the dramatic potential in Angel Blue's voice. In Vissi d'arte from Puccini's Tosca she combined a strong feeling for the words with a lovely vibrant and full vocal line. The was a very involving performance, but beautifully controlled without any the bulges in the line. The climax was thrilling, with a finely controlled diminuendo and whilst you the role does not seem to feature on her cv, it does not sound too much of a stretch for her voice. She followed this with a thrilling and gleaming account of Dich teure Halle from Wagner's Tannhäuser. It is hopefully a few years yet before she sings this role on stage, but oh boy are we in for a treat. The combination of her vibrant toned voice, vivid characterisation and sense that she was enjoying herself made for a fine account of the aria, though here again her German was not ideal.
Io son l’umile ancella from act one of Cilea's Adriana Lecouvreur was just perfect, with a full vibrant line and singing which certainly brought a tingle to the spine. Angel Blue managed to both thrill and to make the aria touching, fining her voice down beautifully at the end. She closed with Violetta's Ah, fors’è lui Sempre libera from act one of Verdi's La Traviata. This was a very affecting performance, combining neat passagework with striking portamenti and some powerful climaxes.
Throughout the recital Angel Blue was supported by Catherine Miller's fine pianism. Their performance rightly drew a strong reaction from the capacity audience and we were treated to two encores, a gospel number King Jesus and I could have danced all night from The King and I.
Mozart: Alleluia — Exsultate Jubilate
Richard Strauss: Heimliche Aufforderung
Richard Strauss: Die Nacht
Richard Strauss: Allerseelen
Richard Strauss: Wie sollten wir geheim sie halten
Richard Strauss: Befreit
Sergei Rachmaninov: Ne poy, krasavitsa, pri mne
Sergei Rachmaninov: Vocalise
Sergei Rachmaninov: Zdes’khorosho
Sergei Rachmaninov: Vesenniye vodi
George Gershwin: Summertime — Porgy and Bess
Ruperto Chapi: Las Carceleras — Las hijas del Zebedeo
Giacomo Puccini: Vissi d'arte — Tosca
Richard Wagner: Dich teure Halle —Tannhäuser
Cilea: Io son l’umile ancella — Adriana Lecouvreur
Giuseppe Verdi: É strano!... Ah, fors’è lui Sempre libera — La traviata
Angel Blue (soprano); Catherine Miller (piano). Rosenblatt Recitals at the Wigmore Hall, London, 21 October 2013