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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’.
11 Jun 2014
Rising Stars at Lyric Opera of Chicago
In its annual concert devoted to performances by current members of the Patrick G. and Shirley W. Ryan Opera Center, Lyric Opera of Chicago showcased a roster of talented singers who will doubtless add greatly to operatic and concert stages of the immediate future.
All of the singers performed their
chosen pieces and ensembles admirably, indeed each selection as sung was
memorable for the degree of lyrical and dramatic commitment transmitted. As a
supplement to the vocal offerings Maureen Zoltek, the Ryan Opera Center’s new
pianist, played the first movement of Ravel’s Piano Concerto in G major. The
conductor for the entire program was Kelly Kuo.
The first half of the program spanned operatic selections, in four
languages, ranging from the eighteenth through the twentieth century. The
second half of the evening was dominated by American and French selections
after the performance of the movement from the Ravel Concerto. Perhaps most
revealing from this program was the opportunity to hear each of the talented
singers in a variety of repertoire, with performances that emphasized an
encouraging versatility. As an example of such range, Tracy Cantin sang, in the
first part of the concert, Cressida’s recitative and aria, “How can I
At the haunted end of the day,” from Sir William Walton’s
Troilus and Cressida. Ms. Cantin’s involvement in this brief
evocation of the title character was riveting. Her searing top notes
emphasizing “betrayed” and “a phantom” led to the dramatic concluding
declaration of “my conqueror.” In the second part of the program Cantin was
equally impressive in a very different role, the concluding scene of Jules
Massenet’s Thaïs. Here as she was supported by the Athanaël of
baritone Anthony Clark Evans the vision of Thaïs came alive and her
transformation from courtesan to saint was believable. Cantin produced soft,
pure pitches in contrast to the appropriately urgent, sincere appeals by Evans.
The final “Je vois Dieu” [“I see God”] communicated the apotheosis of a
blessed figure. A comparable set of performances was offered by bass-baritone
Richard Ollarsaba. In his rendering of Figaro’s Act IV aria, “Tutto è
Aprite un po quegl’occhi” [“All is prepared
eyes a little”], Ollarsaba demonstrated excellent sense of color and the
ability to use his resonant sound as a means to suggesting varying emotional
states. Even within the single word “Ingrata” the expressive range that
Ollarsaba attached to individual vowels communicated both distress felt by the
character portrayed and a growing sense of irritation. Ollarsaba’s later
contribution was also by Mozart, this time in the trio ensemble, “Soave sia
il vento,” from Act I of Così fan tutte, sung together with soprano
Laura Wilde and mezzo soprano Julie Anne Miller. Each of the three performers
retained a distinct vocal personality while also blending effectively at
requisite moments. As Don Alfonso, Ollarsaba’s upper register and fluid
legato connecting multiple pitches outlined an impressive backdrop for
the myriad emotions expressed, just as the women’s voices rose and fell in
touching pathos. In their solo pieces during the concert both Miller and Wilde
also gave exciting performances. Ms. Miller showed a masterful sense of
Handelian style in the aria of the title character, “Dopo notte,” [“After
night”] from Act III of Ariodante. While communicating the sense of
the text, Miller took the word “splende” [“radiantly”] with appropriate
forte emphasis. Especially noteworthy are Miller’s breath control
and Italian diction, both serving her well in the embellishments she used in
the repeat of the A section of the aria. In the second part of the program Ms.
Wilde sang Marguerite’s aria, “Oh Dieu! Que de bijoux!,” [“O God! What
jewels!”] from Gounod’s Faust; she held a mirror in hand and acted
through her character’s delight with the jewel box as she sang this famous
showpiece aria. In decorating the line of this piece Wilde was careful in
observing textual import, so that her decorations on the “princesse,” whom
she fantasized at becoming, were especially well chosen. Her final notes showed
an emotional outburst that spoke more of the character’s naïveté than of
her entrancement with the jewels produced by Mephistopheles.
Among other singers performing in both solo and shared pieces J’nai
Bridges gave a sublime account of Sapho’s aria, “Où suis je
Ô ma lyre
immortelle” [“Where am I
o my immortal lyre”] from Gounod’s opera
Sapho. Bridges led the listeners into Sapho’s emotional world, the
character’s distress at the end of her life being expressed in contrasting
lines with “nuit eternal” [“eternal night”] and “douleur”
[“pain”], both descending to full deep notes, and her wounded “cor”
[“heart”] showing the singer’s glistening upper register. As Sapho’s
inevitable act of suicide approached, Bridges’s voice rose at the
contemplation “sous les andes” [“beneath the waves”]; she invoked her
watery death with chilling, individual low pitches on “dans las mer” [“in
the sea”] before appealing to the ocean to indeed open itself up [“ouvre
toi”] with a final, shockingly dramatic top note on the repetition of “dans
la mer.” A very different sort of character emerged in her duet from
Porgy and Bess, shared with the Porgy of baritone Will Liverman. Mr.
Liverman has an excellent command of legato which he sustained
throughout, just as Bridges declared “I’s your woman now.” Both
singers’ voices suggested the mutually enveloping emotions of their
characters as the line “We is one now” remained the predominant theme
communicated. In his solo contribution, “Batter my heart” from John
Adams’s Doctor Atomic, Liverman showed very effectively the tension
felt by Oppenheimer as he struggled with the responsibilities of his scientific
research and its effects on humanity. Yet another couple deserves mention for
their vocal and dramatic commitment. Soprano Emily Birsan and tenor John Irvin
sang a delightful account of “Chiedi all’aura lusinghiera” from Act I of
Donizetti’s L’elisir d’amore. Both artists demonstrated their
ease and technical skill at bel canto singing, while each was
especially sensitive to weaving a lyrical statement that suggested a growing
sense of attraction and an independent resistance to the same. As a fitting
conclusion to the evening the latter two performers were joined by Miller,
Evans, and Ollarsaba, as well as the full ensemble, in “The promise of
living” from Aaron Copland’s The Tender Land.