Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

11 Dec 2013

War Requiem, Chicago Symphony

As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.

War Requiem, Chicago Symphony

A review by Salvatore Calomino

Above: "Two bewildered old ladies stand amid the leveled ruins of the almshouse which was Home; until Jerry dropped his bombs. Total war knows no bounds. Almshouse bombed Feb. 10, Newbury, Berks., England." February 11, 1943 [Source: U.S. National Archives]

 

The featured singers were soprano Tatiana Pavlovskaya, tenor John Mark Ainsley, and baritone Matthias Goerne. In addition to the Chicago Symphony Chorus expertly prepared by Duain Wolff, the Chicago Children’s Chorus showed the careful supervision of its Artistic Director Josephine Lee. The Orchestra, soloists, and choruses were brought together under the direction of conductor Charles Dutoit.

Britten’s large-scale work was performed with deep respect yet also with the vitality that is needed to render a fresh impression of its predominantly pacifist sentiment. The soft choral repetitions on “Requiem aeternam dona eis” [“Eternal rest grant to them”] at both the beginning and end of the piece established such a requisite tone and allowed for variations by soloists, orchestra, and the choruses within these parameters. In the first solo piece, “What passing-bells for those who die as cattle?,” Mr. Ainsley made an energetic leap into the poetic text by Wilfred Owen. His clear and idiomatic pronunciation underscored the ironic use of words from the realm of prayer and church-services used here to describe gun-and shellfire. Ainsley’s skilled sense of vocal decoration showed in his melismas on the words “prayers” and “rapid” to eluciate the violent sounds of war, just as “wailing” was similarly emphasized as both the sound of a rushing shell and the emotions elicited by its destructive force. High pitches on “held” and “speed” in the third stanza led into a gradual deceleration as Ainsley sang the concluding line, “and each slow dusk a drawing-down of blinds,” with a tempo matching the import of the text.

The intervening orchestral and choral passages devoted to the “Kyrie” and the “Dies irae” were played with stately emphasis and with careful attention focused on exposed writing for the brass. The second poem of Owen following immediately features the baritone as solo performer. In “Bugles sang” Mr. Goerne showed sensitivity to modulating his voice in the higher reaches at the start of the poem in Brittten’s scoring, while he ended the piece with an impressive, nearly bass emphasis in “Bowed by the shadow of the morrow, slept.” Between those parts Goerne’s projection on sustained pitches showed an unpleasant waver which tended to diminish his dramatic effect. At the entrance of the soprano and the return to Latin text, the “Liber scriptus” was declaimed with authority and a secure sense of pitch. Ms. Pavlovskaya gave an impressive performance with high notes sung forte on the first and third syllables of each verse culminating in awe before the “Rex tremendae majestatis” (“King of tremendous majesty”) of the final stanza. The concluding verse as an appeal for mercy was sung with an equally effective piano line.

In the first of several duets for tenor and baritone, “Out there we’ve walked quite friendly up to Death,” Ainsley and Goerne traced their vocal lines at times together, at times apart, as they portrayed two soldiers caught up in a combat platoon facing Death. In an emphatic reaction to this chilling prospect, both singers embellished their lines, “we laughed at him, we leagued with him, old chum.” Ainsley’s final recitation of “for Life, not men” with soft introspection led the pair back to the sober reckoning of war’s generic toll. Following the stately pronouncements of the choral “Recordare” Goerne invested Owen’s poem, “Be slowly lifted up, thou long black arm,” with sinister force. The metaphor of an arm for a “gun towering toward Heaven” was caught in the baritone’s chilling curse demanding that this limb be separated “from our soul.”

In each of the next few numbers for chorus and soloists bells sound at the conclusion as if in dignified recognition that individual participants of the conflict are commended to the earth. Ainsley’s elegy for a fallen soldier, “Move him into the sun,” was especially poignant for his emphasis on the “fatuous” sunbeams which can no longer break this sleep. The next duet for baritone and tenor, introduced with distinctive performances by the CSO woodwinds, was held together expertly under Dutoit’s leadership. The narration by the soloists of the story of Abram and Isaac was punctuated by the children’s chorus singing the Latin “Offertory.” In this ironic statement on the Old Testament sacrifice being fulfilled through the horrors of war, the ensemble worked together as seamlessly as in the following “Sanctus.” Here Pavlovskaya performed with full chorus in her declaration to the deity. Embellishments taken on “sanctus” and “in nomine Domini” as well as a rising melisma on “in excelsis” (“in the highest”) were executed at full voice with the chorus providing an echoing background. In the final duet for baritone and tenor, “Let us sleep now,” an increasing complexity of melodic line was again supported by the choral forces in their growing appeal for peace. The final shudder of “Amen” united the ensemble in this epitaph for an end to conflicts.

Salvatore Calomino

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):