![The Jette Parker Young Artists for the 2014/15 season [Photo © ROH/Jay Brooks]](http://www.operatoday.com/14684789446_fb0b77e6c0_z.png)
21 Jul 2015
Betrothal and Betrayal : JPYA at the ROH
The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.
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ETO Autumn 2020 Season Announcement: Lyric Solitude
English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
Love, always: Chanticleer, Live from London … via San Francisco
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).
Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
Treasures of the English Renaissance: Stile Antico, Live from London
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
Anima Rara: Ermonela Jaho
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
A wonderful Wigmore Hall debut by Elizabeth Llewellyn
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
Requiem pour les temps futurs: An AI requiem for a post-modern society
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
The Sixteen: Music for Reflection, live from Kings Place
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
Paradise Lost: Tête-à-Tête 2020
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
Max Lorenz: Tristan und Isolde, Hamburg 1949
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
Joyce DiDonato: Met Stars Live in Concert
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Where All Roses Go’: Apollo5, Live from London
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields 're-connect'
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
Choral Dances: VOCES8, Live from London
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Royal Opera House Gala Concert
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
Fading: The Gesualdo Six at Live from London
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
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Reviews
Having (quite) enjoyed the Verdi Falstaff given here recently, it was nice to hear the Overture to another Falstaff-inspired piece, the Overture to The Merry Wives of Windsor, well shaped by young conductor Jonathan Santagada (who will conduct Maxwell Davies’ The Lighthouse next season). It was a wonderful performance, full of mystery juxtaposed with sprightliness. Long, lyrical basslines sang magnificently, while shades of Mendelssohn (Midsummer Night’s Dream) were palpable.
That was not the only link to the recent Falstaff though. The brown wood panelling of Falstaff’s Windsor surprisingly reappeared in the Verdi Boccanegra excerpt. Anush Hovhannisyan was the Amelia Grimaldi, pure of voice but lacking in projection. Breaths in the centre of phrases and a not-quite-there mastery of Verdi’s technical challenges weighed down this Amelia; her Gabriele (Samuel Sakker) was better, if somewhat over-vibratoed. Yet he has a powerful voice, and when it opens out it is certainly impressive. The firm-toned James Platt was a confident Jacopo Fiesco.
The heart-on-sleeve music of Cilea provided the most extended section of the first part. Nelly Miricioiu (as the titular Adriana) still has stage presence, if not vocal beauty. Lowering the proscenium front enabled a deft transformation of space. Paul Wynne Griffiths, who had handled the orchestra well if not outstandingly in the Verdi, seemed more at home in Cilea’s musical world of sudden contrasts and long-arched melodies that need space to breathe. Sakker again impressed (as Abbé de Chazeuil), as did Yuriy Yurchuk as Michonnet. Maybe it was Jihoon Kim’s Prince de Bouillon that left the most indelible impression. Kim’s stage presence is almost as notable as his resonant voice. He does seem to have everything.
The second half was a Francophile’s dream. The Pearl Fishers remains a wonderful opera, even if heard through completely Bizet does rather over-work an admittedly fine musical idea. Costumes conjured up an exotic environment, even if the stage didn’t (wooden panels gave way to foliage). If the orchestral storm was rather muted under Michele Gamba (surprising, given his excellent Berio Folksongs at the Linbury in 2013), Samuel Dale-Johnson’s Zurga shone, vocally at least (a pity his acting is diametrically opposed to his singing); against him was the positively angelic Léila of Lauren Fagan. A solo aria to complement this: Rachel Kelly, somewhat bland and over-vibratoed in Marguerite’s “D’amour l’ardent flame”. A shame, given the vibrant writing from Berlioz.
Finally a bit of a rarity: Gounod’s take on Romeo and Juliet. A backdrop of stars suggested the key idea of “star-cross’d lovers”. Here it was the radiant Kiandra Howarth who shone, providing the most emotionally convincing singing of the afternoon. Luis Gomes was a well-chosen Romeo, his voice a pleasure to experience. Paul Wynne Griffiths brought forth real tenderness from the orchestra, as well as honouring the music’s lyric impulse. Perhaps the rather static staging lacked drama, but that was hardly a bar to enjoyment. A fascinating, and frequently special, concert.
Colin Clarke