Recently in Performances
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.
06 Jul 2014
Plenty of Va-Va-Vroom: La Fille du Regiment, Iford
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
La Fille has certainly been derided over the years for its vulgarity and
jingoistic tendencies. Yet dig a little deeper and you find that the canny
Donizetti was also in fact essaying a new direction away from the
all-conquering Italian opera of his time and, by a slick piece of “art
concealing (or revealing?) art”, he was on the way to creating a new style.
Indeed he had more than 20 years of compositional experience behind him by the
time Fille hit the stage in 1839/40, and he used all his considerable
wiles to achieve his aims. Perhaps Theophile Gautier best summed up this work
as “facile et spirituelle” — and certainly it seduces with its
infectiously gay (in the original sense),light, and bright music as much as it
explores the weightier themes of nationalism, feminism and the human response
to loss and war, despite skimming over them with a gossamer thread of catchy
tunes. So how to bring all this to a tiny space in the Wiltshire countryside?
Suzanne Shakespeare as Marie
Director Jeff Clarke and his designers Nigel Howard & Graham Wynne and
conductor Toby Purser simply threw away the rule book for this English-language
version and solved the production “problems” with panache, wit, imagination
and, well, plenty of va-va-vroom. Literally almost, as the Regiment is
converted to a South Californian Hell’s Angels-type biker gang, all six of
them beautifully kitted out in full leathers, tattoos and bandanas riding some
interesting-looking “Darley Havisons”. They are “at war” with a rival
gang and so immediately we understand what Clarke is doing and are seduced into
this early 1960’s version of the Napoleonic wars. Marsha Berkenfield, social
climber in LA, her daintily-camp butler Mr.Hortensius, Sulpice is
“president” of the Regiment gang, Dulcie Crackenthorpe an appalling old
heiress, Tonio a Hispanic immigrant (serendipitously cast) and Marie as in the
original, an orphan “found” by the Regiment as a baby. True, there is the
odd surgical cut: no room, literally, for the opening scene with the
“Marquess” and Tyrolean peasants praying for deliverance en masse — but
apart from that Clarke has kept very close to the original opera. The libretto
however was definitely given a far freer rein by Clarke: plenty of choice biker
language, plenty of near-the-knuckle anti-Hispanic invective.
Any “Fille” anywhere has always been an opera which stands or falls by
the success of its Daughter of the Regiment; over the decades it has been
defined by many by the quality of the soprano singing the role of Marie —
from Jenny Lind, via the great Dame Joan Sutherland, and on to such modern day
successes as Natalie Dessay. So it was a delight and a relief to hear young
Australian-born soprano Suzanne Shakespeare take on the mantle with a fearless
display of sparkling coloratura, trills and even a few decorations of her own.
Her voice has both a warm middle and a shining top: E flats popped with aplomb,
yet with “Il faut partir...” her goodbye to the gang in Act One,
she found a touching pathos, ably drawn. A bravura performance from start to
finish — a young star on the high road for sure. So then, of course, there is
the “will he, won’t he” aspect of Tonio’s (in)famous “Mes
amis....”. If young Spanish tenor Jesus Alvarez was nervous, it didn’t
show. We might have been nervous for him for in that intimate space and
orchestration for just eleven instruments, but yes he delivered all nine of
those high Cs with conviction and bang in tune.
Jesús Álvarez as Tonio
However, no matter how thrilling the young leads were, or how convincing
their acting, here at Iford it was the role of Sulpice, sung by the excellent
Adrian Clarke which held the whole show together. Totally in the part from
start to finish, beautifully observed, expressively sung, what a tour de force
he gave us. Almost as impressive was Katharine Taylor Jones’ Marsha
Berkenfield, a statuesque figure wearing the vintage dresses with assurance and
poise, her warm mezzo voice supple through the range. A comically-awful Dulcie
Crakenthopre was played in drag by one of the bikers, Philip Cox who obviously
had a lot of fun mixing his roles. James Harrison’s mincing butler was the
right side of caricature and kept the laughs coming. A word must be said here
for the biker gang: sung by Cox, Richard Belshaw, Graham Stone, Martin George,
Angus McAllister and Richard Woodall, this was no ordinary “chorus” job.
With only six voices to fill out Donizetti’s wonderful music each was a true
soloist, each a significant actor. The same must be said of the 11 players of
that music: from opening solo trumpet to resounding final chords, nowhere to
hide and nowhere needed.
The production team kept it simple but effective with the cloister converted
to a tract of dry desert and cacti. The Music Lesson was ingeniously staged
with an electronic keyboard masquerading as a grand piano, in turn doing duty
as a dance-stage. Clever, witty, and it worked. Which, really, sums up this
mini-triumph of the imagination. A must-see if you can.
La Fille du Regiment (sung in English), Iford Opera, Saturday, July
Opera della Luna at Iford Opera playing: July 8th,
10th, 12th, 15th, 17th and