Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
27 Mar 2014
Harrison Birtwistle, Elliott Carter, Wigmore Hall, London
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
So it was that Birtwistle bookended the evening. The first piece was his Fantasia upon all the notes (2012), commissioned by the present ensemble and premiered at the Wigmore Hall in March 2012. Scored for flute, clarinet, harp (the sound of the harp, although not omnipresent, was a Theseus-thread through the evening) and string quartet, the score breathed out a lyric expansiveness, its long lines fully honoured here and leading to a frenetic climax before the piece effectively disintegrated. The basis for the composition (“all the notes”) is the shifting scales of the harp, dependent on the pedals used. In this way, the harp, by no means soloistic, subtly guides the harmonic language of the piece. It was a fine example of the composer's subtle practices, and was beautifully and sensitively delivered here by members of the Nash Ensemble.
Carter and Birtwistle are of course linked by age as well as the complexities of their music (although the manifestations of those complexities are, of course, very different). There were two Carter pieces in the first half: Enchanted Preludes of 1988 and Esprit Rude/Esprit Doux of some 22 years previous. The first, Enchanted Preludes, is scored for flute and cello, here played by Philippa Davies and Adrian Brendel, respectively. It was a virtuoso performance of a sophisticated piece. Both players demonstrated superb control of their instruments in a piece that demonstrates, concisely, Carter's strengths of a consistent harmonic language and a superb ear for detail. If Esprit Rude/Esprit Doux for flute and clarinet (Davies again, this time with Richard Hosford on clarinet) was not quite as fine a piece, not as sure of itself, it nevertheless evinced a great sense of dialogue.
The Adams was the odd man out. Somehow Shaker Loops, in its chamber version for seven strings, felt rather roughly 'inserted' in deference to the American side of the concert series. It was a fabulous performance: perfectly graduated crescendi and a real sense of determination. But the piece felt over-long and frankly bloated, and was firmly compositionally outgunned by its companion pieces.
Elliott Carter's Mosaic of 2004 (for flute, oboe, clarinet, harp, string trio and double-bass) began the second half. The harp part is virtuosic but in the pre-concert talk Birtwistle had contrasted Carter's treatment of the instrument to his own: Carter does not let the instrument resonate (and therefore, by implication, be true to its own nature). The complex pedal work is impressive indeed as a performance act and one does have to wonder if this aspect is part of the piece's basis, just as the viola is asked to be contra-itself and be very forceful; very un-viola-like perhaps. It is an interesting piece, certainly, but it was overshadowed to no small extent by the piece that most people had surely come to hear, Birtwistle's recent The Moth Requiem (2012).
The BBC Singers were on absolute top form for the demands of this work, which sets a number of Latin names of butterflies interspersed into the poem “A Literalist” by Robin Blaser from his larger work The Moth Poem. The poem concerns a moth trapped in the body of a piano and which could be heard in contact with the strings. It is a lovely idea, and masterfully realised. The scoring is for 12 singers, 3 harps and alto flute. In fact Birtwistle uses the three harps as one “meta-instrument”, as he explained in his characteristically dry-witted pre-performance event. Birtwistle's years of experience enabled him to weave an intoxicating sonic tapestry. The fragmenting of texture and musical material in the work's final stages is impeccably timed. This is nothing short of a masterpiece.
Running through the concert was the sure direction of Nicholas Kok, whose clarity as a conductor was a model of its kind. A remarkable evening.