02 Mar 2016
Heroique flashes at Wigmore Hall
Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals
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 good way.
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).
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.
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.
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.
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.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals
Last night's Rosenblatt Recital (25 February 2016) at theWigmore Hall was shared by the American tenor Bryan Hymel (known for his performances as Aeneas in Berlioz' Les Troyens at Covent Garden and his disc Heroique of French 19th century heroic opera arias), and the young American mezzo-soprano Irene Roberts (who will be singing the title role in Bizet's Carmen with San Francisco Opera and Deutsche Oper Berlin this year). The two singers were accompanied in a programme of RVW, Wagner, Gounod, Mascagni, Berlioz and Bizet by pianist Julius Drake. The programme opened with Bryan Hymel singing RVW's Four Hymns for Tenor, when he and Drake were joined by viola player Krzysztof Chorzelski , then Irene Roberts sang four of Wagner's Wesendonck Lieder. Bryan Hymel then gave us Ah! leve-toi, soleil! from Gounod's Romeo et Juliette and Mamma, quel vino e generoso from Mascagni's Cavalleria rusticana, with two excerpts from Bizet's Carmen to conclude the programme.
One of the fascinating things about Rosenblatt Recitals is the way the series places opera singers in a concert context, and showcases their repertoire choices when moving away from operatic drama. Bryan Hymel's choice of RVW's Four Hymns for Tenor was an intriguing choice indeed. The work is an early one, written in 1911 shortly after the Five Mystical Songs and partaking of the same aura of mystical rapture. We are used to hearing the work sung by classic English lyric tenor voices but Hymel has shown that his voice has the refreshingly old-fashion combination of narrow-focus power with remarkable flexibility. For all the big bright sound in at the opening, Hymel was able to bring his tone down and give us moments of lower key intimacy. This was quite a big boned performance, and Hymel was finely matched by viola player Krzysztof Chorzelski and pianist Julius Drake. However Hymel's performance seemed a little constrained and score-bound (it was the only work of the evening where he sang from the score), and it perhaps was not the ideal work to open the programme. For all the inward quality which he brought to it, the performance did rather miss the sense of mysticism that these songs need. However Hymel did give the music a very intense presence.
Irene Roberts [Photo by Kristin Hoebermann]
Next, Irene Roberts sang four of Wagner's Fünf Gedichte für eine Frauenstimme (Wesendonck Lieder); she missed off Im Treibhaus, one of the two songs which Wagner labelled 'Studie zu Tristan und Isolde' (studies for Tristan and Isolde). The five songs should probably not be regarded as a song cycle, Wagner wrote them over the period of a year (1857-1858) and the present order of the songs was only fixed by the publishers, Schott, in 1862. However it was a shame that we missed the perfumed Tristan-esque exoticism of Im Treibhaus, and thankfully we were treated to it as an encore at the end of the recital.
Irene Roberts has a big, bold, dark-hued mezzo-soprano voice and is already singing Kundry in Parsifal and you suspect that other large dramatic mezzo-soprano roles will come into her repertoire. At this stage in her career though, she seemed to need something of a guiding hand from a director, as her performance of the Wagner songs was impressive and finely correct without really exploring the spark of erotic romantic languor. You felt that Roberts needed to relax somewhat and revel a little more in the wonderfully rich sound she was making. Instead this was a performance which impressed rather than seduced. Der Engel was beautifully done but too literal, and needed to be a bit steamier. Stehe still! was intense and vibrant, though Roberts sound occasionally verged on the wild. You sensed that with the right direction she could be a really exciting performer and in Schmerzen she brought a lovely dark tone to bear. For the opening of Träume Julius Drake gave us an object lesson in how to bring out the Tristan-esque subtlety of this music, playing with flexibility and seductiveness, with great care of the space between the notes. Roberts performance however, though intense and inward, was a bit too soberly serious.
Bryan Hymel opened the second half with Romeo's Ah! leve-toi, soleil from Gounod's Romeo et Juliette. Romeo is nowadays a role sung mainly by tenor with voices of a more lyric cast, but in the 19th century the great Polish tenor Jean de Reske used to perform Romeo and Tristan in the same season. Hymel sang without music and seemed far more relaxed, and at ease than in the first half, and this showed in his performance. He demonstrated that it is perfectly possible, bringing his flexible yet big bright sound to bear on Gounod's music and showing us how the lyricism of the aria can be combined with a thrilling sound, concluding with a fabulous top note.
He followed this with more conventional dramatic tenor repertoire, Mamma, quel vino e generoso, Turiddu's emotional leave-taking from his mother in Mascagni's Cavalleria rusticana. In a vibrantly upfront performance of classic Italian verismo repertoire we notice the relative narrow focus of Hymel's voice compared to more recent Italian tenors. But this also meant that the performance had a lovely intensity and flexibility, combined with a strong sense of character and superb tone quality.
Irene Roberts sang Marguerite's D'amour l'ardente flammme from Berlioz's La damnation de Faust. Roberts showed a fine sense of control in a powerfully intense performance. Her French was nicely correct but she didn't really make enough of the words and in the more passionate moments her diction slipped. Overall I really wanted a little more sense of risk and a suppleness in her account of the role.
Finally we had two extracts from Bizet's Carmen. First Bryan Hymel sang La fleur que to m'avais jetee from Act Two, in which he demonstrated how ideal he is in this type of repertoire. Singing with finely expressive French and allowing the language to colour his tone in a way that most Italian-trained singers do not. He combined power and suppleness in ideal proportions. This and the Gounod made me wish that Hymel's repertoire choices for the recital had perhaps focussed on this area more.
Finally Hymel and Roberts gave us the whole of the final scene from Carmen. Granted we missed the off-stage chorus somewhat, but Julius Drake's piano went a long way to supplying that element of the drama. In this scene the dark intensity of Roberts voice really came into its own, and that strong, sober intensity made Carmen's 'Non, je ne t'aime plus!' really count. And she was finely contrasted with Hymel's wonderfully ardent and brightly intense Don Jose. I have to confess that I had been hoping for something a little more unusual in the recital, but this scene demonstrated a fine sense of style combined with powerful drama.
Finding an encore to follow that scene was inevitably difficult so Irene Roberts sang Im Treibhaus from Wagner's Wesendonck Lieder which Julius Drake segued straight into Bryan Hymel singing Nessun dorma from Puccini's Turandot.
Programme and performers:
Vaughan Williams, Wagner, Gounod, Berlioz, Bizet
Bryan Hymel, tenor; Irene Roberts, mezzo-soprano; Krzysztof Chorzelski, viola; Julius Drake, piano. Rosenblatt Recitals at the Wigmore Hall, 25 February 2016.