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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
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’.
15 Apr 2014
Will Don Quichotte Be the Last Production at San Diego Opera?
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Is it not equally mad to let a great opera company like San Diego Opera die when it could live on with different leadership?
On Saturday night, April 5, 2014, San Diego Opera (SDO) presented what may be its last production, a revival of Jules Massenet’s Don Quichotte. On March 20, General Director Ian Campbell announced that the company would “shut down with dignity” on April 14. SDO is not out of money, but it can no longer afford the deluxe productions it has staged in the past. The move was a total surprise to the employees, but only one of the board members voted against the closing. At the Saturday evening performance of the Massenet opera, Campbell was booed unmercifully when he attempted to speak to the audience. Since his announcement of the closure, almost twenty-one thousand SDO fans have signed a petition to keep opera in San Diego. It can be found here. The Save the Opera Campaign can be found online here.
Don Quixote and Sancho Panza fight the giant windmills.
Don Quichotte (Don Quixote) is an opera in five acts that Jules Massenet composed to a French libretto by Henri Caïn. Although Massenet's comédie-héroïque relates to the great Spanish novel by Miguel de Cervantes, it is closer to Jacques Le Lorrain’s play Le Chevalier de la Longue Figure, which was first seen in Paris in 1904. The opera, written in 1909 for the Russian bass Feodor Chaliapin, was first performed early the following year at the Opéra de Monte Carlo. The composer may have also thought of himself as a Don Quixote, because at the age of sixty-seven, he was in love with his twenty-seven year old Dulcinea, Lucy Arbell.
Don Quichotte is a vehicle for a charismatic singer with a low voice. Italian bass Ferruccio Furlanetto is one of the truly great artists of our time and an opportunity to enjoy his interpretation of the character created by Cervantes is most welcome, even if the circumstances surrounding it are painful. In 2009, the opera was first staged in San Diego for Furlanetto. Both then and in 2014, his fully engaged character portrayal, his personal magnetism, and above all his glorious singing made the audience fall in love with the madly idealistic knight. San Diego has a large Spanish-speaking population and they were particularly in evidence for this French take on an author with whose work they are most familiar.
Keturah Stickann’s traditional production followed both Caïn’s libretto and Massenet’s music with great care, but added twenty-first century lighting and stagecraft. She told her story in a most creative manner and showed applicable quotations from the original Cervantes work in translation before each scene. The Windmill Scene was particularly memorable because the music seems to be turning the huge blades as they emerged from the fog. Conductor Karen Keltner, a specialist in French music, was at her best as she gave us a musically apt description of the mind of the ingenious gentleman from La Mancha. Missy West’s exquisite costumes and Kristina Cobarrubia’s colorful Flamenco dances added visual excitement to the production. The sets by Ralph Funicello combined with Marie Barrett’s lighting to show the bare bones landscape of rural Spain.
Flamenco Dancing in Don Quichotte
Eduardo Chama’s Sancho Panza was an amusing peasant who really cared for his master. Vocally, he seems to have lost some resonance since 2009, but his able portrayal of the character made up for it. Anke Vondung was a flirtatious but innately practical Dulcinea who sang with a chocolate cream voice. Hervé Blanquart was a frightening head bandit while Chad Frisque, Michael Blinco, Anthony Ballard, and Joseph Grienenberger were mean-looking thugs. Others in the cast who added much to the production as a whole were Joel Sorenson as Rodriguez, Simeon Esper as Juan, Michaëla Oeste as Pedro, and Susannah Biller as Garcias. Choral music is often important in French opera and this work is no different. Charles F. Prestinari’s group sang with precision as they floated their delicious harmonies out into the auditorium. It’s sad to think that they and their instrumental colleagues may have much less work after the end of this season.
Cast and production information:
Rodriguez, Joel Sorenson; Juan, Simeon Esper; Pedro, Michaëla Oeste; Garcias, Susannah Biller; Dulcinea, Anke Vondung; Don Quixote, Ferruccio Furlanetto; Sancho Panza, Eduardo Chama; Ténébrun Chief Bandit, Hervé Blanquart; Conductor, Karen Keltner; Director Keturah Stickann; Choreographer, Kristine Cobarrubia; Scenic design, Ralph Funicello; Costume design, Missy West; Lighting design, Marie Barrett; Chorus Master, Charles F. Prestinari; Supertitles, Ian Campbell.