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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
23 Jun 2014
Luca Francesconi : Quartett, Linbury Studio Theatre, London
Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.
When visiting a new country, it helps to know its language and customs. Francesconi's music may seem strange, but that doesn't make it invalid. Francesconi's music is modern but connects deeply to European culture.
Quartett might seem gruesome but no more so than the original story, which was written in 1782. In Choderlos de Laclos's Les Liaisons damgereuses Valmont and Merteuil play kinky mind games. They manipulate other people , and pride themselves on their cynical lack of emotional engagement. They're specially drawn to good people like Madame de Tourvel, because they get a special kick from destroying genuinely good and sincere people. The original book is so well known that it should be part of basic education, but there's also a summary on Wikipedia and a Meryl Streep movie.
Francesconi's setting, based on a play by Heiner Mueller, predicates on the idea that Merteuil and Valmont are alone in an apocalyptic wasteland. It doesn't really matter what disaster has befallen them, save that they've lost the wealth and privileges that let them get away with so much for so long. Perhaps they're in Purgatory, forced to face the consequences of what they have done. Can there be any greater hell for two people who have escaped responsibility for their actions because of their social status.
At first we see a woman ( Kirsten Chávez) in the tatters of an 18th century noblewoman's gown, her corset still tightly laced. Despite what's around her all she can think of is sex. "The skin remembers touch", she groans, "whether hand or claw". At least she's facing one aspect of her depravity. Significantly, the word "Tourvel" intrudes on her consciousness. Tourvel, the virtuous wife Merteuil challenged Valmont to seduce. Tourvel gave into Valmont out of warped Christian generosity because she thought her love might redeem him: the complete opposite of Merteuil Thus Meretuil is obsessed with her memory
The book, Les Liaisons damgereuses is a collection of letters, reputedly exchanged by Merteuil and Valmont as they plot their stratagems and taunt one another. In a modern novel, we read multiple points of view, and the author's commentary. In letter-novels we have only the letter writers' perspective: we have to guess between the lines how other people feel. The structure of Francesconi's Quartett replicates this anomie, so fundamental to the emotional disengagement Merteuil and Valmont seek to achieve.
The epistolary nature of the original also influences Francesconi's dramatic form. Miniature scenes progress seamlessly, ideas and persona changing back and forth. The vocal lines are arch, like the tone in the letters. In the opera, Leigh Melrose sings great falsetto! Valmont and Merteuil act out different scenarios, like method actors, trying to find their way into an experience. They switch rapidly between personas, sometimes reversing parts. Fransceoni's mentor was the late Karl-Heinz Stockhausen, whose influence can be heard in Francesconi's use of spatial relationships and electronic sound. Sometimes the singers stand silent, listening to recordings of their own voices singing other parts, making them reflect. . Perhaps that's why the opera is called "Quartett", though there are only two players. It may also refer to the chamber music upon which Francesconi's reputation was built, where players interact with each other in intricate formation.
Andrew Gourlay conducted the London Sinfonietta. This isn't easy music to play although it's so atmospheric that it sets the background to the story. The orchestra murmurs comment, and screams in frustration, suggesting the unseen voices of people whom Valmont and Merteuil block out of their consciences. Quartett is much more sophisticated and satisfying than much of what the London Sinfonietta has been doing in recent years.
Gradually Valmont and Merteuil get deeper into the wider implications of what they have done. Valmont and Merteuil think of Cécile, the young virgin straight from convent whom Valmont seduced, and ruminate on the idea of sin and the church, They ponder the irony that the parts they pollute once gave them life. In the book, Valmont is thrown off his scams because he developed genuine feelings for Tourvel. Merteuil had to acknowledge that she had feelings for him under her tough exterior. Perhaps, as Valmont sings, they'll get together in hell. Thus he willingly drinks poison and dies, while Merteuil is left alone, waiting.
John Fulljames's staging highlights the psychic dislocation. Soutra Gilmour's simple panels of fabric hang down from the ceiling, giving a vertical dimension to the horizontal stage. With intelligent lighting (the wonderful Bruno Poet) the fabric can resemble torn lace, or mountains, or reversed, black flames reaching upwards from Hell. Sounds Intermedia mixed the electronics. Ravi Deepres created the video projections. Mark Stone and Angelica Voje sing in the second cast.
Please also read ">Susana Malkki on Francesconi . She conducted Quartett in Milan and Amsterdam.