Recently in Performances
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.