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),
The New York Festival of Song, founded in 1988 by Michael Barrett and Steven Blier, offers unique evenings of songs rarely heard, or songs rarely heard in conjunction with one another.
Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.
To borrow from the great Bard himself: “the course of true love never did run smooth.”
Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.
Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.
Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).
In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.
During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704).
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse raised from the backstreets to the bright lights — is a walking compendium of emotions.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
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