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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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!"