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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
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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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).
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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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
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.
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Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
03 Oct 2016
Walter Braunfels : Orchestral Songs Vol 1
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Even before the First World War, during which he served on the front line, Braunfels was preparing what is now his best-known work, the opera Die Vögel, which helped launch the seminally important series on Decca 20 years ago, which pioneered the rediscovery of Entartete Musik, the "degenerate" music the Nazis hated. Although his career dimmed, Braunfels wasn't actively suppressed by the regime, even though he was a half-Jewish convert. His three sons all served in the German army. His music itself would have made him an outsider to the Nazis and their taste for unquestioning sentimentality in art. Die Vögel is based on Aristophanes. Braunfels's treatment of the play highlights its powerful underlying message. The Birds aren't so much passive objects of beauty but the voices of women protesting against dominant hierarchies. Braunfels continually returned to these basic concepts throughout his career. In Jeanne d'Arc, Szenen aus dem Leben der heiligen Johanna and Die Verkündigung , Braunfels used medievalism as a disguise for ideas that were dangerous in a totalitarian regime. Braunfels was a resistance fighter no less, using the Gothic to subvert the Nazi preoccupation with glorifying the past. In Der Traum ein Leben, Braunfels even depicts a talentless fool following a false Fuhrer. The orchestration is lush but highly ironic. Attempts to rebrand Braunfels as dreamy-eyed romantic inflict on him a kind of posthumous castration.
This new recording begins with the Vorspiel und Prolog der Nachtigall Op 30/3 1913) a coloratura display for soprano and orchestra, a sampler for the full opera Die Vögel which premiered in 1920. Exquisitely refined playing from the Staatskapelle Weimar, emphasizing the delicacy of the scoring: to remind us that birds are fragile, like the ideas they symbolize in the opera. Valentina Farcas sings the fiendishly difficult part with assurance, not quite as miraculously as Hellen Kwon did for Lothar Zagrosek in 1997, though more idiomatically than some since. Kwon made the part feel almost supernaturally ethereal, like an elemental force of nature, which, arguably, is what the role is all about.
In Zwei Hölderlin-Gesänge op 27 (1916-18) Michael Volle is a commanding presence, and rightly so, for the poems have a strange unworldly quality "Willkommen dann, o Stille der Schattenwelt!" the poet wrote, wrote, fixated by death. The second song, Der Tod fürs Vaterland is even more unsettling. Swirling, almost Wagnerian flourishes in the orchestra lead to stillness, for we are on a battlefield awaiting the Valkyries. The legend long pre-dated Wagner. For Hölderlin "Fremdling und brüderlich ists hier unten" might have meant noble sacrifice, but to Braunfels, in the last years of the war, words like "O Vaterland,Und zähle nicht die Toten! Dir ist,Liebes! nicht Einer zu viel gefallen" would not have felt so grand. Significantly, Hölderlin came from Württemberg, which supplied Napoleon with thousands of troops, most of whom died in Russia in 1812, a detail not lost on Braunfels, who marked on the manuscript that it was written "in the forest camp at Neu-Württemberg at Christmas 1916". These two songs are neatly complemented by Auf ein Soldatengrab op 26 to a poem by Hermann Hesse, written in 1915 : new poetry, new music and very topical.
"Dich, Nachtigall, verstand ich eine Stunde" sings Klaus Florian Vogt in Abschied vom Walde op 30/1 which Hoffegut sings in Die Vögel when he leaves the Nightingale in the woods, and returns home a wiser man. The lustre of Vogt's singing makes one feel that Hoffegut learned more from the birds of the forest than Siegfried ever could.
This selection of orchestral songs has a wonderful unity, underlining the importance of respecting Braunfels as an intellectual as well as a composer. They are nicely set into place by Braunfels's Don Juan op 34 (1922-4) variations on the Champagne Aria from Mozart Don Giovanni. Seven variations follow the initial Theme, all of them played briskly, reflecting the humour oif the original. Leporello is perplexed and the aria is delightfully funny. But there's a darker side, as Donna Elvira discovers. One day, Don Giovanni will pay for this frivolity. Thus, beneath the post Jugendstil decorative filigree lurks menace. Variation 4 is serene, but Variation 5 ( Mässig-bewegter) begins with an ominous boom , as if winds were sweeping upwards, from a tomb. Is the Commendatore emerging? The mood in Variation 6 (Andante) is equivocal, the theme emerging on a solo wind instrument, "clouds" of rumbling strings enveloping it. In the final Variation (Presto) the old devil is back to his tricks, flying fleetingly, the brass blowing raspberries of defiance, though the ending, is, as we know, defeat . Braunfels is much more than a study in techiques and adaptation. It's a miniature opera, without words.
Congratulations to Oehms Classics for this superlative recording of Braunfels's Orchestral Songs, so good that I've already ordered the next in the series. But the same standards of excellence don't apply to the programme notes. What relevance does Yoko Ono have for Braunfels, happily married as he was? These songs aren't about love. This is something that Oehms should take more seriously. Good notes are important because they can enhance the listening experience: well-informed readers can better appreciate what they're listening to.