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On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
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.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
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.
28 Nov 2016
Gothic Schubert : Wigmore Hall, London
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
This recital will be one Lieder aficionados will remember for years. For 19th century Romantics, death was a source of endless fascination, much in the way that sex dominated the 20th century. Many songs in this programme are early works, some written when Schubert was as young as 14, and give an insight into his youthful psyche. Like most teenagers, before and since, he was intrigued by "the dark side". In a strict Catholic society, the Gothic Imagination gave a kind of legitimacy to dangerous, subversive emotions. The whole Romantic sensibility was a kind of Oedipal reaction against the paternalism of neo-Classical values. In these songs, we can hear young Schubert rebelling against his father, connecting to what we'd now call the subconscious.
In Ein Leichenfantasie D7 (1811) to a poem by Friedrich Schiller, a man is burying his son in a crypt. But why is the burial taking place in the dead of night. The son has a "Feuerwunde" penetrating his very soul with "Höllenschmerz". This death was not from natural causes. Suicide was a mortal sin. Schiller's meditation on the reversal of the natural order is sophisticated, the transits in the poem rather more elegant than Schubert's setting. In 1811, he was but still a child, so his transits between ideas are less elegant than Schiller's, but the ideas are original, if not completely coherent. Still, the song is an audacious tour de force lasting nearly 20 minutes, an undertaking that calls for finesse in performance. Eine Leichenfantasie exists in both baritone and tenor versions, though the former is better known, but it would have been asking too much of most audiences to hear both versions together in succession.
There were other sets of songs like Das war ich D174 a and b but the Kosegarten pairs, An Rosa I D315 (1815) and An Rosa II D 316 and the two Abends unter der Linde D235 and D237 (1816) benefited from the greater variety in the settings. The first Abends unter der Linde, for example, is more lyrical, the second more haunted, with its reference to the names of the poet's deceased children. Hence the value of a tenor/baritone recital highlighting contrasts in related pieces. There's clearly a good dynamic between Jackson and Farnsworth, which made the alternations flow together well. Their joint Lied (Ins stille Land) D403 (1816) was extremely impressive, the alternating voices capturing the lively flow of the music in typically Schubertian style, reaching "the land of rest" by vigorous images of movement, vividly depicted by Baillieu's expressive playing. Even with two very different songs, Lob des Tokayers D248 (1815)(Gabriele von Naumberg) and Punschlied 'Im Norden zu singen' D253 (1815) (Schiller) the flow between voices was enhanced by a very genuine sense of conviviality between Jackson and Farnsworth. Sincerity does matter in a genre like Lieder, which is so intense and so personal.
Sincerity matters, too, in strophic ballads like Der Vatermörder D10 (1811) to a poem by Gottlieb Conrad Pfeffel, in which a son kills his father. "Kein Wolf, kein Tiger, nein, Der Mensch allein, der Tiere Fürst, erfand den Vatermord allein, which makes an emotional point, though it's not borne out in nature. The text is maudlin. Having killed his father, the son wipes out a brood of fledgings whom he thinks were mocking him. Such melodrama might call for overblown declamation. Instead, Jackson sang sensitively: we must not laugh. The piano part thunders obsessively, suddenly slowing into watchful near silence, suggesting that the killer is insane, or at least as feral as the beasts of the woods. Like Eine Leuchenfantasie, Der Vatermörder is a teenage piece without much finesse, but Schubert treats it seriously, and so should we. This same emotional truth illuminated another pairing Der Einseidelei I and II, D393(1816) and D563 (1817) respectively. Both are settings of poems by Johann Gaudenz, Freiherr von Salis-Seewis, about hermits who live alone in nature: simple sentiments but not at all simplistic. Jackson's phrasing was sensual yet pure, suggesting that the hermit's choice was riches indeed. In Des Fräuleins Liebeslauchen D698 (1820) (Schlechta), a lovesick knight throws flowers to his ladylove. Jackson's naturalness of expression made us respect the knight, though his love might be in vain.
Jackson and Farnsworth are among the most promising English singers of their generation. I first heard Jackson sing a few songs in a private recital when he was only 22. Yet his voice is so distinctive that I immediately recognized it some years later when he sang at the Wigmore Hall/Kohn Foundation International Song Competition in 2011. Since then, he's developed extremely well, with a blossoming career in opera. Having worked in Stuttgart, his German is also more idiomatic than most English singers. Marcus Farnsworth won the Wigmore Hall/Kohn Foundation Song Competition in 2009 and appears in recital and on the BBC. James Baillieu is a well-known song accompanist and chamber player, who presented an 11-concert series at the Wigmore Hall last year.
This splendid programme, and performance, concluded with Schubert's Fischerweise D881 (1826) (Franz Xaver Freiherr von Schlechta) , a familiar favourite but rarely, if ever, heard with tenor and baritone sharing the honours. An inspired idea! The song moves briskly, with the piano playing jaunty rhythms "gleich den Wellen, und frei sein wie die Flut", which repeat in not quite matching pairs. With two singers, you can also hear how this duality is also embedded in the vocal line.The voices interact, like oars, pulling together. In the final strophe,words like "Die Hirtin" and "schlauer Wicht" are separated more clearly than is often the case, but this further emphasizes the choppy "waves" in the piano part and the concept of the sea as a metaphor for life. Meanwhile, on a bridge, a shepherdess coyly pretends to fish. The fisherman isn't fooled. "Den Fisch betrügst du nicht!"