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 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.
Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.
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