Recently in Performances
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.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
11 Nov 2013
Britten’s Atmospheric War Requiem, London
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The sense of occasion was overwhelming.
The vast auditorium was packed, and the arena area where Prommers throng in summer, was filled with seats. Before the performance began, the house lights were turned, not onto the stage but onto the audience. It was a moment of sheer theatre, but utterly appropriate, for everyone in the building must have known, or know of someone affected by the barbarity of war. No-one could remain unmoved. Wilfred Owen wrote about the First World War, and Britten wrote to commemorate peace after the Second World War. But the world is still wracked by conflict. Wars of attrition continue, millions of people still suffer. Turning the spotlight on the audience reminded us that Remembrance is more than "Lest we forget" but also implies moral obligation.
How amazing it must have been for the performers to look onto the Royal Albert Hall and see the lights shining on thousands of faces! This was infinitely more a communal experience than just a musical event. The lines between performance and reception blurred. Normal measure of performance were largely irrelevant. We were all participating in something much greater than ourselves.
Because the War Requiem was commissioned to mark the rebuilding of Coventry Cathedral, it has become associated with vast venues and ostentatious displays of public piety. Although it's written for some 300 performers, at the really critical moments, Britten silences the tumult. Britten was essentially a private man, not given to big public gestures of emotion. The heart of the piece is the twelve member ensemble that accompanies the two male soloists. The choruses and the female soloist sing in Latin, and sing words that would fit neatly into any standard Requiem Mass. Significantly, Britten sets the key texts in English, using the words of Wilfred Owen, who wrote from personal experience. Owen does not celebrate public victory : quite the opposite. He fought bravely, but eschewed formal religion. Britten doesn't quote the biblical story of Abraham and Isaac, but Wifred Owen's Parable of the Old Men and the Young, with its reference to the wilful slaying, not sanctioned by God, of "half the seed of Europe, one by one"
"Move him into the sun" sings the tenor (Allan Clayton). The quote is from a poem titled Futility. A corpse lies on snowbound ground. The soprano and choruses sing "Lachrymosa", of tears and the conventional expression of sorrow. The music is beautiful, but Owen, and Britten are having none of this. "O what made fatuous sunbeams toil, to break earth's sleep at all"? Unlike seeds in the soil, the dead don't re-sprout. In the Sanctus, the choirs sing "Hosanna in excelcis". But Britten has the baritone (Roderick Williams) sing, quite pointedly "Mine ancient scars should not be gloried. Nor my titanic tears, the seas, be dried". Britten's War Requiem isn't designed to comfort, as much as to provoke.
Bychkov places the chamber ensemble to his immediate left, "the heart side" in theatre parlance.The instrumentation mimics that of a large orchestra - five strings, four winds, horn, harp and percussion - but the individual voices are heard clearly : It's another indication of Britten's "inner" programme.
"Lbera me, Domine" the soprano (Sabina Cvilak) sings, haloed by the chorus. "Tremens factus sum ego" (I tremble and fear) The orchestra screams, cymbals crashing, suggesting the chaos of battle. Bychkov's definition of horns, trumpets and trombones was specially good, emphasizing military conflict. But Britten deliberately shifts focus. To minimal accompaniment the tenor sings ""Strange friend, I said, here is no cause to mourn". Tenor and baritone face each other in a strange No Man's Land where nations do not fight. There are no "Germans" or "British" here but two human beings, man to man. Their voices blend. "Let us sleep now", singing in unity. They are turning away from the vast forces around them. Perhaps Britten recognized that social forces dominate over the private. The War Requiem ends on a wave of uplifting glory, sending the audience out into the world feeling the better for having been part of the experience.