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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
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.
28 Feb 2017
Matthias Goerne : Mahler Eisler Wigmore Hall
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.
Goerne's programme was structured like a symphony, through which songs flowed in thoughtful combination, culminating in the Abschied from Das Lied von der Erde, revealed as a well-constructed miniature song cycle in its own right. Goerne is more than a superb singer. He's a true artist who illiuminates the musical logic that underlies Mahler's music.
Song is the voice of the human soul. With remarkable consistency, from beginning to end, Mahler's music poses questions about the purpose of human existence in the face of suffering and death, Nearly always, transcendance is found through creative renewal. Thus this programme began with Der Tamboursg'sell (1901), so well known that it symbolizes the whole Des Knaben Wunderhorn collection of songs. The drummer boy is young but he's being marched to the gallows, for reasons unknown. "Gute Nacht, Gute Nacht!" Goerne's tone rumbled with chilling darkness, as if haunted. Das irdische Leben (1892-3) followed, paired with Urlicht, in the piano song version, though it's better known as part of Mahler's Symphony no 2, sung by an alto. This was a thoughtful pairing. Das irdische Leben isn't just about child neglect, but opens onto wider issues like the nurturing of artists. In Urlicht, the protagonist refuses to be turned away, determined to reach its destiny. The song occurs at a critical point in the symphony, where the soul has passed through purgatory and is heading towards resurrection. In Goerne's programme, it is halted, temporarily, though we know there will be resolution. These first three songs thus form a kind of prologue for what is to follow.
Goerne has been singing Mahler for decades, though he hasn't recorded much, which is a loss to posterity as his Mahler is deeply thought through and perceptive. He's been singing Hanns Eisler even longer, since he grew up a child star in the DDR where Eisler's childrens' songs were well known He recorded Eisler's German Symphony op 50 (1957) with Lothar Zagrosek in 1995. Eisler's German Symphony is a song symphony, an "Anti-Fascist Cantata" setting poems by Brecht and Ignazio Silone. Goerne's recording of Eisler's Hollywood Songbook in 1998 is a masterpiece, easily eclipsing all others.and still remainsthe classic. At the Wigmore Hall, Goerne combined two specialities into a well-integrated whole, the Eialer songs functioning as middle movements expanding the themes in the Mahler songs.
Eisler wrote Hollywood Liederbuch while in exile in Hollywood, pondering on the nature of German culture and identity during the cataclysm that was the Third Reich. Although Eisler is often colonized by pop singers, these songs are serious art songs and include settings of Hölderlin and Heine and really need to be heard with singers like Goerne who can handle the tricky phrasing and vocal range with the understated finesse they need. These are songs of existential anguish, expressed obliquely because the pain they deal with is almost too hard to articulate. For this recital, Goerne chose songs set to some of Brecht's finest poetry, like Hotelzimmer 1942 where Brecht describes neatly arranged objects. But from a radio blare out "Die Seigesmeldungen meiner Feinde". Goerne flowed straight into An den kleinen Radioapparat, reinforcing the connection between the two songs so they flowed together as one larger piece. The piano parts are written with delicacy, suggesting the fragility of radio waves and the vulnerability of life itself.
Brecht, like Eisler, was a refugee, fleeing from persecution. After this first group of Eisler songs, Goerne placed Über den Selbstmord. The contrast was shocking. The mood changed from suppressed anxiety to outright horror. Goerne brought out the surreal malevolence, his voice rasping with menace. "Das ist gefährlich". The song is a deliberate reversal of Romantic imagery - bridges, moonlight, rivers - and sudden, unplanned suicide. Goerne sang the last phrase, letting his words hang, suspended "das uberträgliche Leben"....coming to a violent sudden end on the word "fort".
A brief respite when Goerne recited lines from Blaise Pascal, which Eisler set with minimal coloration to the Brecht Fünf Elegien, refined miniatures about daily life in Los Angeles, where everything seems normal. Three more songs of poisoned "normacly"- Ostersonntag, Automne californien and In die Frühe before a return to the grim reality of Der Sohn I and Die Heimkehr. Then again Brecht and Eisler overturn Romantic nostalgia. "Vor mir kommen die Bomber, Tödlicher Schwärme" and a horrific parody of a Homecoming hero. The songs in the Hollywood Liederbuch can be presented in any order, but Goerne arranged them here in a pattern which suggests deceptively light andantes cut short by brutal scherzi.
Mahler's Das Lied von der Erde progresses from frenzied denial to transfigured acceptance, expressed through a series of very distinctive songs. In this performance, context came from the songs that had come before, widening the panorama. Bethge's texts evoke China a thousand years past. Once again, many face what Brecht and Eisler went through. Hearing the Abschied in this context is uncomfortable, yet also uplifting, for it reminds us that the grass will grow again. Hearing the Abschied for piano also makes us focus on the structure of the song, and the way it, too, develops in a series of distinct stages, like a miniature song cycle, like Das Lied von der Erde itself, "wunderlich im Spiegelbilde".
The orchestral Das Lied von der Erde predicates on the tension between tenor and alto/mezzo, a typical Mahler contrast between unhappy man and redeeming female deity, but as a stand alone, the Abschied lends itself perfectly well to other voice types. Goerne thus resurrects the Abschied for baritones, connecting the songs of passage, whether they be passages through death or domicile. The message remains the same. The darker hues in Goerne's voice suggest strength and solidity, values which emphasize the earthiness of the imagery in the text. He sings gravitas yet the high notes are reached with grace and ease. At the moment he's singing particularly well, better even than when he recorded Eisler's Ernste Gesänge in 2013, also with songs from the Hollywood Songbook. Marcus Hinterhäuser's playing was exquisite, so elegant that he made the piano sound like pipa or erhu, revealing the refined, chamber music intimacy in the song that the orchestral versions don't often access. Although the piano/voice recording with Brigtte Fassbaender, Thomas Moser and Cyprien Katsaris has been around for years, there's no comparison whatsoever. At times I thought Hinterhäuser might be playing a new, cleaner edition of the score, since his playing was infinitely more beautiful and expressive. I suspect he's just a much better pianist, and he and Goerne have worked together a lot in recent years. As Hinterhäuser played the long non-vocal interludes, Goerne was visibly following the score, listening avidly. That's how good Lieder partnerships are made. As Goerne sang the last "Ewig....ewig...." I couldn't bear for the music to end.