Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
27 Jul 2014
Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
As was the fashion, the “new” opera of the 1640s celebrated the precedence of the text over the music. It was said that music served to illustrate and therefore followed the text of the drama in every way, allowing the musicians to fill in the chords between the vocal and bass lines as they wished. More complete orchestration, it was thought, should be confined to musical interludes and aria-type passages. This theory has, it must be admitted, caused many of today’s early musicians many headaches!
At Iford, director Justin Way and conductor Christian Curnyn have sensibly foregone the usual “Prologue” as the original libretto by Badoaro established the fact that humans are just playthings at the mercy of the gods - Time, Fortune and Love .However, after this he also leaps into the story of our hero near the end of his trials and travels, and so we join the story as Penelope weeps and waits for her husband to return, pestered by ambitious suitors, whilst Ulysses is washed up on the shores of Ithaca unaware that the goddess Minerva has an idea......
Elisabeth Cragg as Minerva
This Iford Opera production, sung in English, made the most of the tiny space with a vaguely “ancient/mythological” blue flooring design and subdued (and occasionally wayward) lighting. Costumes were also vaguely modern with more than a touch of the dressing-up box, but did little to disturb the intense drama of the piece. A production which served rather than inspired.
However, it was, rightly, the music and the drama which stayed with the audience as we departed into a ridiculously warm and starlit night in the depths of the Wiltshire countryside. Curnyn’s group of eight superb early instrument specialists - with himself at the harpsichord almost part of the drama from time to time - drew us into this time-warp of sound with grace, style and (even more difficult on a sultry evening) amazingly good tuning.
Jonathan McGovern as Ulysses and Rowan Hellier as Penelope
Of the 12 young singers there can only be praise, and they kept up Iford’s reputation for high quality vocalism. The restricted acting space requires complete immersion in the role as there is literally nowhere to hide when so close to the audience and as actors some were better than others. Here experience tended to tell: standouts had to be Rowan Hellier as a noble, plangent Penelope with rich mezzo tones throughout; Jonathan McGovern as the wandering hero Ulysses who brought a powerful tenor which also could spin a line with ease, and Daniel Auchincloss as the faithful servant/shepherd Eumaeus, who’s early music experience, high tenor and appealing stage presence made themselves felt. Among the more minor roles, the resonant snarling bass of Callum Thorpe as one of the nicely-delineated three suitors was memorable.
Monteverdi is not an “easy” option for any summer festival opera series and Iford Opera is to be congratulated for finding exactly the right mix of musicians and singers to convince and perhaps convert those for whom this was a first experience of how it all started so very long ago.
Click here for cast and production information.