10 Apr 2014
Louise Alder, Wigmore Hall
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Remarkably assured, and accompanied empathetically and imaginatively by pianist John Paul Ekins, Alder revealed an alluring voice characterised by lyrical charm and astonishing power, particularly at the top; and her vocal prowess was complemented by a sure sense of poetic meaning and musical poetry.
Benjamin Britten’s song cycle On This Island began the programme. Taking their cue from the title of the opening song, ‘Let the florid music praise’, Ekins and Alder relished the Handelian grandeur of the quasi-fanfare rhetoricisms, the soprano’s vocal lines charged with drama and energy, Ekins’ Baroque ornamentations ostentatious and rhythmically propulsive. After the splendour of the first stanza’s agile coloratura displays, the second stanza was more subdued, but lyrical and mellifluous, paralleling the move from public to private world in W.H. Auden’s poetry.
Alder demonstrated a focused and robust tone across the registers, and a flamboyant, theatrical musical presence in this first song. The second, ‘Now the Leaves are Falling Fast’, was more introverted, the irregular ostinato and repeated chords of the accompaniment, coupled with the circling semi-quavers in the voice, creating a tense mood: ‘Arms stiffly to reprove/ In false attitudes of love.’ Yet, the peace and fulfilment intimated in the final verse, ‘None may drink except in dreams’, was fittingly silky and consoling.
In ‘Seascape’ and ‘As it is plenty’ the performers grappled with the rather awkward text settings; the latter, in which Auden presents a social satire mocking the narrowness of bourgeois values, may be witty does not readily lend itself to musical embodiment — but Alder worked hard to convey the ironic vein. However, the even, oppressive chords of ‘Nocturne’ and Alder’s effortlessly lyrical vocal line conveyed a strong understanding of poetic nuance; for the ‘meaning’ is to be found as much in the metrical smoothness of the poetry as in the individual words and this is matched by the regularity of Britten’s music. As the monotone recitation gave way to a progressive rising to the highest pitch, Alder transformed the mood, expressing the move from sleep to consciousness: ‘Calmly til the morning break/ Let him lie, then gently wake.’
Four songs by Richard Strauss followed, beginning with ‘Ich Schwebe’ (I float) in which Alder revealed a rich resonance, if not quite a creamy Straussian sumptuousness. ‘Der Stern’ (The star) showcased the soprano’s wide range and seamless leaps between registers, conveying the tender relationship between the poet-speaker and the star above which ‘waves down here/ it approaches me warmly’ (‘Er nahte mir gern;/ Er Wärmet und funkelt’).
‘Waldesfahrt’ (Woodland journey) was eerily light of touch, the piano’s cascades and evocative diminishment suggesting the shadowy forms ‘nodding through the carriage window’ (‘Kopnickend zum Wagen herein’); the muted ending — as the shadows ‘blend together like mist’ and ‘giggle and dart’ away — was particularly affecting. ‘Schlechtes Wetter’ (Wretched weather) is a vivid setting of Heine’s depiction of quiet family life within and torrential rain without. The performers modulated effectively between the insouciant relaxation of domestic harmony, especially in the swinging waltz-like final stanza, and the dry discord which conveys the dreadful deluge seen through the window-panes.
After the interval came Franz Liszt’s Tre Sonetti di Petrarcha, settings of Petrarch’s sonnets 47, 104 and 123, which tell of the poet’s love for a woman named Laura. Surprisingly Italianate, these songs exploit bel canto idioms — virtuosic display, a wide vocal range, legato melodic lines, climatic phrase structures — and Alder proved equal to all the technical demands. Ekins too mastered the quasi- orchestral accompaniment with ease (the songs were originally published in transcribed form for piano solo). The introduction to ‘Benedetto sia ‘l giorno, e ‘I mese, e l’anno’ (Blessed by the day, the month, the year) had a warm sense of expanse, and the song gained in urgency, an impetuous accelerando towards the close expressing the obsessiveness of the poet’s passion. The strength of Alder’s upper register made a particularly strong impact, and conveyed a sparkling sense of joy, the thrill of the poet’s ‘first sweet pang’ (‘primo dolce affanno’) of love.
During the recitative opening of ‘Pace non trovo’ (I find no peace), Ekins etched the piano lines, particularly the left hand gestures, with real clarity, then found an orchestral resonance in the more operatic aria section ,as Alder’s melody blossomed, culminating in an intense climax cut short by a theatrical silence: ‘Equalmente mi spiace morte e vita’ (death and life alike repel me). Then, the gently undulating accompaniment to ‘I’ vidi in terra angelici costumi’ (I beheld on earth angelic grace) established a sweetness upon which Alder beautifully floated her graceful melody.
After these Austrian and Italian sojourns the performers returned to home territory with three songs by Frank Bridge. ‘Goldenhair’, a setting of Joyce, was characterised by vivid textures and expressive harmonies. ‘When most I wink’, composed when Bridge was a student and the first of his songs to survive, and ‘Love wen a-riding’ were clearly and lightly enunciated by Alder, who communicated the songs’ simple charm engagingly.
The vocal items were framed by two compositions for strings, both dating from the 1920s, impressively performed by the Ligeti Quartet. Béla Bartók’s 4th String Quartet is a taut, sometimes terse work of unceasing compression and concentration, in which outbursts of athletic energy puncture pointillist textures and timbres. The Ligeti Quartet presented a remarkably eloquent reading, controlling the arching five-movement form with intelligence and insight.
The confident tone with which they began the opening Allegro was immediately absorbing; supple melodic lines, energised by rhythmic accents which were rich rather than harsh, intertwined in complex counterpoint, but the textures retained a distinctive clarity as the voices mirrored and answered each other. There was buoyancy and bite, and some agile cello playing from Valerie Welbanks who shaped the pentatonic lyrical fragments expressively. The fleeting flickerings of the muted Prestissimo which follows were wonderfully ethereal; the panoply of coloristic devices — muted harmonics, glissandi, pizzicati — were skilfully negotiated and the players convincingly privileged texture over melody and harmony.
The ‘night music’ of the third movement beautifully contrasted the pianissimo shimmering of the upper strings with the cello’s well-focused exotic melody which meandered in folk-like fashion. Leader Mandira de Saram assumed the melodic thread, her sweet high phrases wistful and melancholy, before second violinist, Patrick Dawkins, interjected with some robust, gutsy G-string colours. The snapping pizzicati of the fourth movement generated a vigorous rustic verve, and this dynamism spilled into the Allegro molto which was an invigorating, impetuous dance, the unpredictable accents building to an emphatic concluding statement of the motto theme which binds the work.
Alban Berg’s passionate, dramatic Lyric Suite closed the recital. The Ligeti Quartet conveyed both the romanticism and modernism of the work, the sweeping range of diverse emotions balanced by a cerebral appreciation of the work’s architecture and language. Since musicologist George Perle discovered in 1976 an annotated copy of the first edition which revealed the precise, autobiographical programme of the work, the emotional highs and lows have been understood within the specific context of Berg’s obsessive passion for Hanna Fuchs-Robettin; but one did not need a narrative key to the musical code in order to appreciate the unfolding drama, so sure was the Ligeti Quartet’s command of the shifts of tempo and intensification of mood: giovale, amoroso, misterioso, estatico, appassionato, delirando, desolato.
The penultimate Presto was fearsomely feverish before the final Largo, in which the players chose to restore the setting of Baudelaire (translated into German by Stefan George) which the dark, foreboding music had originally accompanied. Alder’s focus was startling and the range of colours she found in her lower register impressive; the depiction of the barren polar world over which darkness dwells was weighty and ominous. The chilling climax, as the soprano faced the terror of this night of chaos (‘Und dieser nacht o ein chaos riesengross’) was a moment of extreme theatre: ‘nacht’ rang with piercing intensity, only for Alder to crescendo through the phrase with astonishing power. The falling contours of the final dissolving phrases were attentively shaped but without mannerism, as the string voices slipped away as inexorably as Baudelaire’s slowly unwinding spindle of time.
Bartók: String Quartet No. 4; Britten: On this Island Op. 11; Richard Strauss: ‘Ich schwebe’, ‘Der Stern’, ‘Waldesfahrt’, ‘Schlechtes Wetter’; Liszt: Tre sonetti di Petrarca; Bridge: ‘Golden Hair’, ‘When most I wink’, ‘Love went a-riding’; Berg: Lyric Suite. Louise Alder, soprano; John Paul Ekins, piano; Ligeti String Quartet. Wigmore Hall, London, Monday 31st March 2014.