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Elsewhere

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Insights on Mahler Lieder, Wigmore Hall, Andrè Schuen

At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.

Ermelinda by San Francisco's Ars Minerva

It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).

Wozzeck in Munich

It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

Korngold's Die tote Stadt in Munich

I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.

Exceptional song recital from Hurn Court Opera at Salisbury Arts Centre

Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.

Lohengrin in Munich

An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.

Hansel and Gretel in San Francisco

This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.

An hypnotic Death in Venice at the Royal Opera House

Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d’art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer ‘would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep’.

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Bampton Classical Opera's Young Singers' Competition - Winner Announced

Bampton Classical Opera is delighted to announce that the winner of the 2019 Young Singers’ Competition is soprano Lucy Anderson. The runner-up prize has been awarded jointly to soprano Daniella Sicari and mezzo-soprano Carolyn Holt. The winner of the accompanists’ prize, a new category since 2017, is Dylan Perez, who accompanied Lucy Anderson.

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.

Manon Lescaut in San Francisco

Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.

A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas

A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.


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Reviews

30 Nov 2019

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas. »

Recently in Reviews

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26 May 2005

Rigoletto in St. Louis

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park. »

25 May 2005

BACH: Cantatas, Vol. 14 & 15

These two sets of three CDs each are the current installment in Ton Koopman’s monumental complete cycle of J.S. Bach’s cantatas, performed by the Amsterdam Baroque Orchestra and Choir, and produced by his wife, Tini Mathot. The cycle started out in 1995 on the Erato label, but only twelve volumes had been published when Erato was disbanded by its parent company, Time Warner. After searching for another label that would take over his cycle project, Koopman finally applied for a loan and started his own label, Antoine Marchand, which is distributed by Challenge Classics and Allegro. Koopman’s cycle has loosely followed Bach’s original chronological order of performance for the volumes appearing so far (vol. 1-13.) Appearing after a gap of two years since vol. 13, the current two volumes cover cantatas from Bach’s second to third yearly cycles of cantatas for Leipzig (chorale cantatas.) »

24 May 2005

Teresa Berganza: The Spanish Soul

Brilliant Classics’ Teresa Berganza: The Spanish Soul is an outstanding compilation of Spanish songs and cycles by prolific Spanish and Latin American composers, including de Falla, Granados, Turina, Guridi, Toldra, Villa-Lobos, Braga, and Guastavino. The very beauty of this recording is the innate sense of energy in the Spanish style, which both Berganza and pianist Juan Antonio Alvarez Parejo seem to execute effortlessly. Once more, such an extensive collection of well-known compositions alongside rare jewels creates an essential recording. »

24 May 2005

Ivan Kozlovsky: The Great Russian Tenor

This new release from Pearl presents an anthology of Russian selections, primarily operatic, performed by tenor Ivan Kozlovsky (1900-1993). Kozlovsky was one of the giants of the Russian operatic stage during its glory days in the 1940s and 50s; he recorded extensively with Melodiya, both Russian and Western repertoire. Surprisingly, however, there has apparently never been a Kozlovsky Russian anthology available prior to this release (Myto Records released a collection of the singer’s Western operatic hits in 2000). It is gratifying to see it finally here. »

24 May 2005

Arie del ‘700 Italiano (Italian arias of the 18th century)

Featuring nine arias from various eighteenth-century operas and composers, this recording contains a wide variety of dramatic songs, three of which are the recitative and aria “Se cerca, se dice: “I’amico dov’e?” and “Ha keres, ha kerdez: a baratom hol van?” from the opera L’Olimpiade, set by three different composers. Accompanied on period instruments by the Savaria Baroque Orchestra, Monica González does a magnificent job with each of the arias on this disc. She is a former winner of the International “Toti dal Monte” singing competition, and has studied by personal invitation with Dame Joan Sutherland and Richard Bonynge at their home in Montreaux. »

24 May 2005

ADAM: Si J’etais Roi
LEHÁR: Rose de Noël

Accord has gone back to the vaults for an attractively packaged series called “Opérette.” On the evidence of two of the sets, these releases feature recordings made in the late 1950s and early ‘60s. The booklets are entirely in French (and offer no librettos whatsoever), but even a French-challenged persons such as your reviewer can understand the inside front cover, which appears to explain that the recordings are the efforts of “L’Academie Nationale de l’Opérette.” This organization appears to have as its rationale — all right, raison d’etre — the preservation, if not resuscitation, of the great French tradition of light musical entertainments. With bold, bright colors decorating the packaging, the sets come across as delectable candy boxes — but how much sweetness one will enjoy when partaking of the series does depend on a taste for the bouncy, frivolous world of operetta. »

23 May 2005

DONIZETTI: Maria Stuarda

One of the more interesting debates in arts politics in England last century centered on the language in which operas should be performed. While some staunchly favored opera in the original, others maintained that librettos should be translated into the vernacular. The latter side felt strongly that opera in English would nurture a national style of operatic presentation; a more chauvinistic argument suggested that if native composers heard opera in English, they would be more likely to attempt to set original English librettos (which, of course, would come from the pens of similarly inspired writers). Benjamin Britten and W.H. Auden’s Peter Grimes (1945) might be interpreted as representative of such a strategy. In addition, the mounting of vernacular performances also would inspire British performers (and discourage foreign singers who would be less likely to want to relearn a role in a new language). The debate eventually led to the division of operatic labor, with Covent Garden (soon to be renamed The Royal Opera) to perform works in their original languages and Sadler’s Wells (renamed the English National Opera after its move to the Coliseum, where it remains today) to produce works in translation. Thus, it was left up to audiences to decide which they preferred—or, better yet, to enjoy them both. »

23 May 2005

Geistliche arien des norddeutschen Barock (Sacred Baroque arias from North Germany)

This disc features nine compositions by eight composers located in the area of northern Germany from the sixteenth to the early seventeenth centuries. Despite the title, this recording presents sets of sacred compositions for soprano voice and instruments separated by purely instrumental pieces. The disc begins and ends with compositions by Christian Geist (ca. 1640-1711); otherwise, there is a variety of composers and compositions represented here. »

23 May 2005

La Cenerentola at Glyndebourne

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there. »

23 May 2005

Die Zauberflöte at Glyndebourne

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth. »

22 May 2005

I Masnadieri at Liège, 21 May 2005

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers. »

22 May 2005

G&S at Opera Australia

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.” »

21 May 2005

Don Giovanni at Marseille

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about. »

21 May 2005

GOEHRING: Three modes of perception in Mozart — the philosophical, pastoral, and comic in Così fan tutte

According to the book jacket, this is the first major scholarly study of Così fan tutte, considered to be one of Mozart's least-understood operas and librettist Lorenzo Da Ponte's most interesting text.  »

20 May 2005

TRIBO: Annals 1847-1897 del Gran Teatre del Liceu

The importance of the Teatre del Liceu, can not be overstated. The house ranks with all the leading theatres of the world, being right up there with Paris, London, New York, Vienna, Madrid, Rome, Milan, Lisbon, St. Petersburg, Moscow, Turin, Naples, Buenos Aires, and other cities of comparable importance. During its long history (158 years at the time of writing) it featured many of the great singers. These include Caruso, Battistini, Tamagno, Ruffo, Caballe, Tebaldi, Mario, Pavarotti, Vignas, Lazaro, O'Sullivan, Stracciari, Pagliughi, Gayarre, Masini, Stagno, Lauri-Volpi, Bellincioni, and countless others. Quite a few of these who sang there before 1897 are represented on the accompanying disc. »

20 May 2005

MAY: Decoding Wagner — An Invitation to His World of Music Drama

Thomas May's stated goal in Decoding Wagner is indeed summarized in his subtitle, An Invitation to His Music Dramas. Mr. May offers an introduction to those who may seek a reliable yet succinct guide in their first Wagnerian experience; a further potential readership is seen among those who have attended performances of Wagner but who wish to expand their appreciation of the music dramas. In his chronological overview of Wagner's oeuvre from the mid-1830s until the close of his career May presents an approachable guide to appreciating the composer's operatic genius. As an illustration of May's commentary on the works, a generous selection of Wagner's music is included on two Discs that accompany the volume in a protective sleeve. »

20 May 2005

FAURÉ: The Complete Songs - 1 — Au bord de l’eau

The songs of Gabriel Fauré (1845-1924) are some of the finest works examples of the genre and they represent the mature French mélodie in the hands of a composer who knew both the voice and the piano quite well. This release is the first of four discs that include all of Fauré’s songs for voice and piano within Hyperion’s series of French Song editions. Like those other collections from Hyperion, this volume of the Fauré set involves excellent performers who know the literature well. »

20 May 2005

Susan Graham in Paris

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…» »