Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

Cast announced for Bampton Classical Opera's 2017 production of Salieri's The School of Jealousy

Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

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.

Brahms A German Requiem, Fabio Luisi, Barbican London

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.

Káťa Kabanová in its Seattle début

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.

Bampton Classical Opera Young Singers’ Competition 2017

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.

Festival Mémoires in Lyon

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: surrealism and sensuality at English National Opera

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.

Christoph Prégardien and Julius Drake at the Wigmore Hall

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.

La Tragédie de Carmen at San Diego

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).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

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.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

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.

English Touring Opera Spring 2017: a lesson in Patience

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.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

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.

Opera Across the Waves

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.

Premiere: Riders of the Purple Sage

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.

English Touring Opera Spring 2017: a disappointing Tosca

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.

OPERA TODAY ARCHIVES »

Reviews

Classical Opera Company: MOZART 250
18 Jan 2017

MOZART 250: the year 1767

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’.

Classical Opera Company: MOZART 250

A review by Claire Seymour

Above: Ian Page

Photo credit: Ben Ealovega

 

The music of the 11-year-old Mozart did not, however, dominate this performance at the Wigmore Hall. For while the prodigious feats of the musical wunderkind were certainly feted across Europe at this time - when he was just 6 years old, Francis I of Vienna referred to him as ‘ein kleine hexenmeister’ (a little master-wizard) - there was still some way to go before the teenager would find his mature creative voice. The programme was instead a smorgasbord of arias, secular and sacred, by composers both renowned and relatively obscure, set alongside three of Mozart’s adolescent offerings. The talented young singers who joined Page and his period-instrument orchestra struggled to make something meaningful of the multi-flavoured mix of miniatures.

There were some strong performances to admire, though, and some little-known treasures to enjoy, not least the duetting of soprano Gemma Summerfield and Emilia Benjamin’s viola da gamba in ‘Frena le belle lagrime’ from Carl Friedrich Abel’s opera Sifari. This pasticcio, on which Abel collaborated with Baldassare Galuppi and Johann Christian Bach, was presented on 5 March 1767 at the King’s Theatre Haymarket as a benefit performance for the celebrated castrato Tommaso Guarducci, with Abel - a skilled viola da gamba and viol player - himself playing the solo part. The text of the aria is taken from Metastasio’s L’eroe cinese.

Summerfield’s well-shaped line and variety of colour aptly conveyed the protagonist’s attempt to resist the flood of ‘soft affections’ and the ‘throbs’ of love which the tears of the beholden inspire, and she varied the vocal nuance to match Abel’s unusual modulations. Voice and viola da gamba trilled consonantly at the close of the first section; perhaps more elaborate vocal ornamentation would have enlivened later verses? Benjamin’s preludes and solo commentaries were eloquent but frequently, even though the strings were muted, the viola da gamba struggled to be heard. More animation in the second section, which was accompanied by alert pizzicato, might have generated greater dramatic interest.

Summerfield opened the evening’s vocal items with an aria by a composer unfamiliar to me: Florian Leopold Gassmann. Appointed to succeed Gluck as ballet composer in Vienna in 1763, and the teacher of Salieri, Gassmann was principally admired - by such 18th-century musicians as Burney, Gerber and Mozart - for his comic operas, which received performances in places as far apart as Naples, Lisbon, Vienna and Copenhagen. Amore e Psiche, which was first performed on 5 October 1767 to celebrate the ill-fated marriage of Archduchess Maria Josepha to King Ferdinand of Naples, reflects the influence of Gluck’s operatic ‘reforms’ of the early 1760s. ‘Bella in un vago viso’ - in which Zephyrus tries to reassure Apollo, who is alarmed by the disappearance of the weeping bride-to-be Psyche, with the dubious argument that women are prettier when they cry than when they smile - has a full complement of woodwind, and Page made much of the appealing interplay between voice and accompaniment. Summerfield again crafted a warm, fluid line, but she seemed a little hesitant at times and ‘pick-ups’ and tempi did not always feel settled and secure.

Bass-baritone Ashley Riches joined Summerfield after the interval for Mozart’s cantata, Grabmusik, which is reported to have been composed when the young prodigy, suspected of putting his name to works penned by his father, was shut away by the Prince of Salzburg with just some manuscript paper for company and told to prove his compositional prowess. The resulting work is believed to be this cantata, which was first performed in Salzburg Cathedral on 7 April 1767. It takes the form of an earnest dialogue between a departed Soul, which feels guilt for Christ’s death, and an Angel who offers absolution. Riches’ recitative was anguished and expressive; he handled the difficult coloratura with assurance, snarling at the bitterness of death, and his first aria was as fiery as a revenge aria - running through roulades, plummeting thunderously. The flexibility of the line was fore-grounded by some lucid string playing. Summerfield’s consolatory air - originally intended to be sung by a boy - was characteristically eloquent, imbued with gravity. The pair blended well in their duet, Riches accepting the Angel’s instruction with a gentleness of tone which conveyed resigned content.

Riches’ solo aria was ‘Sopra quel capo indegno’ from J.C. Bach’s Carattaco, the fourth of the five operas that he wrote for London and which was heard at the King’s Theatre shortly before Sifari. In this aria Teomanzio rages against the perfidious Queen Cartismandua, whose deceit has led to the Britons’ defeat at the hands of the Romans. Riches, impressively ‘off score’, was grandoliquent without straying into bombast.

Haydn’s Stabat Mater was one of the first sacred works that he composed in his new position as Kapellmeister of the Esterházy court; Riches and tenor Stuart Jackson presented two of its movements. The orchestral drama of ‘Flammis orci ne succendar’ vividly conjured the flames of hell and showcased Riches’ extensive registral range; ‘Vidit suum’, by contrast, allowed us to enjoy the sweet softness of Jackson’s voice, his phrases being poignantly echoed by the strings. In contrast, it was a dry tremolando that set the scene for the urgent recitative which precedes Gluck’s ‘No, crudel; non posso vivere’, in which Admeto laments the self-sacrifice Alceste has made in order to save his life. Jackson was precise but his tone was somewhat unvarying, and at times the projection seemed forced.

In the two orchestral works presented the instrumental playing was robust and dynamic, though occasionally rough-edged. Arne’s three-movement first symphony was rhythmically lithe and energised by the strings’ impressive bustling and swirling. After some insecure intonation at the start of the opening Allegro, Mozart’s Symphony No.6 settled into a charming, colourful Andante whose lyrical nature signaled its origins: it is an adaptation of a duet from Mozart’s first opera Apollo and Hyacinthus (1766), ‘Natus cadit’, which Summerfield and Jackson performed with grace and fluency to provide an unusually gentle close to the programme.

More substantial Mozart juvenilia will follow later this year. Classical Opera will present two of Mozart’s works from 1767 at St John’s Smith Square: a new production of Die Schuldigkeit des ersten Gebots which they recorded in 2013, and a fully staged Apollo and Hyacinthus alongside a staging of the Grabmusik. In addition, the company will return to the Wigmore Hall to perform Mozart’s first four keyboard concertos - composed between April and June 1767 - with South African fortepianist Kristina Bezuisdenhout. A new recording with Sophie Bevan, Perfido!, featuring concert arias by Mozart, Haydn and Beethoven will also be released in May.

Claire Seymour

Classical Opera: Ian Page - conductor, Gemma Summerfield - soprano, Stuart Jackson - tenor, Ashley Riches - bass-baritone.

Mozart: Symphony No.6 in F major K43; Gassmann: ‘Bella in un vago viso’ (from Amore e Psiche); Gluck ‘No, crudel, non posso vivere’ (fromAlceste); J.C. Bach: ‘Sopra quell capo indegno’ (from Carattaco); Abel: ‘Frena le belle lagrime’ (from Sifari); Mozart: Grabmusik K42; Haydn: No.6 Vidit suum, No.11 Flammis orci (from Stabat Mater HXXbis; Arne: Symphony No.1 in C major; Mozart: ‘Natus cadit atque Deus’ (from Apollo et Hyacinthus K38)

Wigmore Hall, London; Tuesday 17th January 2016.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):