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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.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
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.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
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.
13 Apr 2014
Gound Faust - Calleja and Terfel, Royal Opera House London
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The opera starts in darkness: Faust knows all about the world from books, but hasn't lived. Maurizio Benini's tempi were slow, suggesting that Faust is perhaps on the point of death when the pastoral theme bursts into the overture like a breath of Spring. When Calleja cried "Rein!", his anguish was heartfelt. As the youthful Faust, Calleja is much more in his element. His natural exuberance makes his Faust cocky rather than intellectual, but that's a perfectly valid interpretation. When Calleja sang "Salut! demeure chaste et pur" he held the spectacular long note so fluidly, the audience went into rapture. Calleja's Faust is an endearingh Italian (Maltese) wide boy, oozing charm. His rapport with the Margeurite of the evening, Alexia Voulgaridou, was good: they were singing together rather than at each other. There's a difference.
Bryn Terfel created Méphistophélès for this production ten years ago, so it was big news when he substituted for another singer at short notice. Terfel is always a force to be reckoned with, even when forcefulness dominates his singing. Méphistophélès gets away with things because he's sly. The delicate background of pizzicato around the part suggest half-glimpsed flashes of hellfire. Rather more cunning on Terfel's part might have been more in character. Terfel's Méphistophélès and Calleja's Faust don't mesh together well, though both singers are masters at working an audience. Terfel's performance this time round was interesting because it showed just how "Gallic" Gounod's Méphistophélès is, in contrast to Goethe's original, and to Russian manifestations, Think Chaliapin. When René Pape sang the part in 2011, the urbane sophistication he brought to the part made it truly sinister.
Alexia Voulgaridou has sung Marguerite many times. As soon as she began singing, her experience showed. She may not be as high profile as Sonya Yoncheva, who has appeared at the Met, with whom she shares the role, but she inhabits the role with great conviction. In her Jewel Song, her rich timbre evoked the sensuality underlying the purity in Marguerite's personality. Voulgaridou is physically very small, but energetic, suggesting the innate strength in the role. The revival director, Bruno Ravella, has dispensed with the silly blonde wig that made Angela Gheorghiu look wrong in 2011. It's the singing that counts, and most of the good ones these days have Latin complexions, perfectly right for a French heroine.
Simon Keenlyside is a perennial House favourite, but here his Valentin seemed underdeveloped. He has the notes but pushes them a little too hard, though his "death aria" was evenly paced an d well presented. Keenlyside's Valentin could have been the brother of Terfel's Méphistophélès. In 2011, Dmitri Hvorostovsky intimated that there's more to Valentin than the libretto alone might indicate. Renata Pokupić's Siebel was spirited. This is an unusual part wihich could be shaped well by someone with Pokupić's individuality: perhaps she'll make it a signature role. Jihoon Kim sang Wagner. Next season he will become a company principal, deservedly so, as he's very good. Diana Montague sang Marthe.
The designs in this production, by Charles Edwards and his team, also reference the "Frenchness" of Gounod's idiom. In the cathedral scene, Marguerite prays before an ornate Baroque sculpture, from which Méphistophélès emerges. In modern, secular times the idea of sacrilege might not be as shocking as it was in 19th century France, so this staging is an excellent way into the deeper levels of meaning in the opera. The military choruses, for example, would have resonated with audiences for whom Napoleon III and the Crimean War were topical. Marguerite's predicament, too, highlights the hypocrisy of a world in which one unmarried mother s condemned while the image of another is revered. The Walpurgis Night ballet is staged in the context of the Paris Opéra,, where patrons lust for young dancers, just as Faust fancied Marguerite. The choreography, originally by Michael Keegan-Dolan and revived by Daphne Strothmann, was brilliantly executed - the male principal Eric Underwood was particularly expressive, his physical agility underlining the erotic undercurrent that runs through the whole opera.