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Elsewhere

London Bel Canto Festival 2019: an interview with Ken Querns-Langley

“Physiognomy, psychology and technique.” These are the three things that determine the way a singer’s sound is produced, so Ken Querns-Langley explains when we meet in the genteel surroundings of the National Liberal Club, where the training programmes, open masterclasses and performances which will form part the third London Bel Canto Festival will be held from 5th-24th August.

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

The Royal Opera Tours to Japan in September 2019

The Royal Opera is delighted to be returning to Japan in September 2019 as part of an exciting year of UK-Japan exchanges, titled UK in Japan 2019-20, following the Company’s hugely successful tour in autumn 2015.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

Longborough Festival Opera announces collaboration with The Academy of Ancient Music in 2020

Longborough Festival Opera will collaborate with the Academy of Ancient Music (AAM) for its production of Monteverdi The Return of Ulysses in 2020. Robert Howarth will conduct Monteverdi’s beautiful, compassionate drama, with Tom Randle in the title role.

Don Giovanni at Garsington Opera

A violent splash of black paint triggers the D minor chord which initiates the Overture. The subsequent A major dominant is a startling slash of red. There follows much artistic swishing and swirling by Don Giovanni-cum-Jackson Pollock. The down-at-heel artist’s assistant, Leporello, assists his Master, gleefully spraying carmine oil paint from a paint-gun. A ‘lady in red’ joins in, graffiti-ing ‘WOMAN’ across the canvas. The Master and the Woman slip through a crimson-black aperture; the frame wobbles.

A brilliant The Bartered Bride to open Garsington's 2019 30th anniversary season

Is it love or money that brings one happiness? The village mayor and marriage broker, Kecal, has passionate faith in the banknotes, while the young beloveds, Mařenka and Jeník, put their own money on true love.

A reverent Gluck double bill by Classical Opera

In staging this Gluck double bill for Classical Opera, at the Queen Elizabeth Hall, director John Wilkie took a reverent approach to classical allegory.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.


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Reviews

13 Jun 2019

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods. »

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13 Mar 2005

Leo Slezak sings arias by Wagner, Verdi and Meyerbeer

Leo Slezak is generally regarded as a German tenor, although he was actually born in what is now the Czech Republic. But, Moravia, where he is from, was Austrian at the time, and had a significant German speaking population, with German the dominant language of the middle and upper classes. He made his debut in Brno (then Brunn), at a time when most opera performances were sung in German, and, to the best of my knowledge, all of his recordings were in that language or Italian (the great majority being in German). He made over 400 records from a wide repertory of German, Italian and French operas, as well as many Lieder and some operetta. His two published discographies list no records from Czech operas. The arias he recorded most frequently include 11 versions each of the Preislied and “Celeste Aida”, nine of the “Ah, fuyez douce image” and seven of the “Roi du ciel” from Le prophète. His stage repertory could probably be divided into four more or less equal parts. Verdi predominated, with 133 performances of Radames, 130 of Otello, 91 of Manrico, and at least 41 of Riccardo. He also sang Ernani and the Duke in Rigoletto. Wagner and grand opera (comprising Elèazar, Raoul, Jean in Le prophète and Assad), were probably tied for second and third, with other composers, including Mozart, Boieldieu, Gounod, Puccini, etc. coming in fourth. His career was largely centered on Vienna, but also included an important stint at the Met, some stays in Brno, Breslau and Berlin during his youth, and guest appearances in many other centers. He has been described as everything from a “Heldentenor” (in many sources) to a large voiced lyric tenor (by Michael Scott, in his books on great singers). I would split the difference, calling him the German equivalent of a French “fort tenor”, who could sing everything from Mozart to the lighter Wagner roles, and did. »

12 Mar 2005

St. Matthew's Passion at Notre Dame

Il existe des appartements où vous ne pouvez brancher à la fois la machine à laver, le téléviseur et le sèche-cheveux sans faire tout disjoncter. C’est un peu l’impression que l’on avait jeudi soir à Notre-Dame, pour la Passion selon saint Matthieu, dirigée par John Nelson. A peine le chef avait-il salué le public, que les projecteurs s’éteignirent soudain. Il fallut une demi-heure pour les rallumer un par un, et lorsqu’à 20 h 33, le dernier spot fut enfin rétabli, le courant sauta derechef ! Ce n’est qu’à 20 h 40 que le grandiose double choeur introductif put faire résonner les colonnes de Notre-Dame. On n’a pu qu’admirer le sang-froid des artistes, restés en scène tout du long, soumis à une pression que certains exorcisaient en plaisantant, d’autres en maintenant leur instrument au chaud ou en se concentrant. »

12 Mar 2005

Something Alien in Baltimore

Nearly a century ago, the great pianist and intriguing composer Ferruccio Busoni declared that the duty of the performer is to liberate music “from the deadness of the printed page and bring it to life again.” »

12 Mar 2005

Stravinsky's The Nightingale in Toronto

If you’re going to attend one Toronto Symphony Orchestra concert this year, make it this one. There’s nothing like leaving Roy Thomson Hall with your feet six inches off the ground — especially when it’s snowing. »

11 Mar 2005

BRITTEN: Serenade for Tenor, Horn and Strings; Nocturne; Phaedra

A spare and yet splendid masterpiece, Britten’s Serenade for Tenor, Horn and Strings doesn’t seem to make it into concert halls as often as it deserves. In the recording studio, however, it has fared well. Besides the classic recordings from the composer and his partner Peter Pears, esteemed versions from Anthony Rolfe-Johnson, Robert Tear, Ian Bostridge, and others have a place in the catalogue. »

11 Mar 2005

Tale of Tsar Saltan at the Mariinsky

The new production of Nikolai Rimsky-Korsakov’s Tale Of Tsar Saltan, which premiered at the Mariinsky Theater on Tuesday, is like a happy child’s dream: placid, multi-colored, entertaining – and it has a happy ending. »

11 Mar 2005

Cav and Pag in Cardiff

The Mascagni and Leoncavallo double bill was the very first staging ever undertaken by Welsh National Opera in 1946 and sentiment decreed that it should be played in the company’s inaugural season at its new home. Elijah Moshinsky’s production was created for WNO’s jubilee and has done sterling duty. It has proved a glorious vehicle for both chorus and orchestra. And the moment when the battered truck that brings Pagliaccio’s touring troupe on to the stage is emblematic. »

10 Mar 2005

Bernstein's Candide in New York

Anna Christy plays Cunegonde in NYC Opera’s ‘Candide.’ Monty Python fans waiting for “Spamalot” tickets can warm up happily at “Candide,” City Opera’s spring season opener at Lincoln Center. »

10 Mar 2005

KÁLMÁN: Die Csárdásfürstin

Emmerich Kálmán’s name may be familiar primarily to music lovers d’un certain âge, but between the world wars his operettas were as popular as those of Léhar and Strauss on both sides of the Atlantic. Die Csárdásfürstin (The Gypsy [or Czardas] Princess), which premiered in Vienna in 1915, is his best known, and for good reason. Its book by Leo Stein and Béla Jenbach sparkles and delights, but with reversals of fortune that leave the audience wondering until the last minute how love’s complications will be resolved. The Budapest-born Kálmán (1882–1953; his fellow composition students included Béla Bartók and Zoltán Kodály) apparently was weaned on his homeland’s melodies and czardas, which he mixes generously with Austrian waltzes to create a glorious portrait of the twilight years of the Austro-Hungarian Empire. The piece played the New Amsterdam Theater in New York in 1917 as The Riviera Girl, with a new book by Guy Bolton and P. G. Wodehouse and added numbers by Jerome Kern. »

08 Mar 2005

Ring des Nibelungen at the Wiener Staatsoper

An der Wiener Staatsoper ist Wagners “Ring des Nibelungen” derzeit in der Inszenierung von Adolf Dresen zu sehen – das nächste Mal am 12., 17., 24. April und am 1. Mai unter der musikalischen Leitung der Australierin Simone Young. Wer der altbacken und teilweise lächerlich wirkenden Produktion überdrüssig ist, muss bis 2007 warten: Am 2. Dezember hat Sven-Eric Bechtolfs Neuproduktion der “Walküre” in Wien Premiere, am Pult steht Franz Welser-Möst. Die beiden sind ein eingespieltes Team. Bis 2009 wird der Regisseur, der am Burgtheater den “Reigen”, “Cyrano de Bergerac” und “Leonce und Lena” inszeniert hat, auch die drei anderen Teile der Tetralogie in Szene setzen. Zu seinem Konzept wollte er noch nicht viel verraten. Er sehe Wotan aber nicht “mit Aktenkoffer” über die Bühne wandern und kann sich auch Walhall “nicht als Großraumbüro” vorstellen. Bechtolf spielte damit auf die heftig gescholtene Bayreuther Ring-Inszenierung von Jürgen Flimm an, die im August 2004 das letzte Mal über die Bühne gegangen war. »

08 Mar 2005

Die Walküre at Covent Garden

Any production of Wagner’s Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera’s new production, though, that turns out to be not such a good thing at all. »

08 Mar 2005

BRITTEN: Canticles I–V, The Heart of the Matter

Benjamin Britten is usually thought of as a musical dramatist on a large, operatic scale, but the instinct (or perhaps the inner necessity) to capture psychological conflict in music burst through in his smaller musical forms as well. His five canticles (not to be confused with the church parables) mirror Britten’s artistic growth in his operas and other large-scale works from the late 1940s until shortly before his death. »

08 Mar 2005

The Origin of Fire: Music and Visions of Hildegard von Bingen

This last in the contributions of Anonymous 4 to the performance of medieval music is a selection of thematically related texts – most by Hildegard von Bingen – dealing with a spiritual or religious fire. Those renditions of traditional hymns, such as “Veni Creator Spiritus” and “Veni Spiritus eternorum alme,” are interspersed with works of Hildegard’s composition. Some of these are based on her prose visions, e.g. “Et ego homo non calens,” identified topically as “The fire of creation,” a depiction of which is also used for the cover illustration. The prose texts are provided with musical adaptations of plainsong by Anonymous 4. “The fire of creation” was performed using plainchant, and Hildegard’s vision “The fiery spirit” was adapted to a two-voice lection tone from Christmas matins of Polish origin. »

08 Mar 2005

VERDI: Les Vêpres Siciliennes

In 1847, Giuseppe Verdi revised his opera I Lombardi alla prima crociata (1843) into a work for the Parisian stage. This “new” composition, featuring extensive plot changes, new music, and the requisite ballet, is considered better than the original upon which it was based. A reverse fate awaited Verdi’s next work for Paris, the grand opéra Les Vêpres Siciliennes, which premiered at the Opéra in 1855. Although it was performed there, with minor changes, until 1863, attempts to get the work past censors in Italy failed, for tales of successful revolutions simply were not permitted on the Risorgimento stage. After a poor translation of the opera entitled Giovanna de Guzman made the circuits, Verdi revisited the score in 1856, and, removing the ballet, created I vespri sicilani. This inferior version, which employs much of Giovanna de Guzman’s text, is unfortunately the one that has remained in the repertory. »

08 Mar 2005

Handel's Il trionfo at the Barbican

GROUCHO MARX once quipped: “I knew Doris Day before she was a virgin.” Bizarrely, that flashed through my mind as I was gripped, ravished and finally moved to tears by this early Handel oratorio. Here was George Frideric before he became, if not a virgin, then something even more pious: the stately, sedate cheerleader for the Hanoverian dynasty. »

07 Mar 2005

EVERETT: The Musical — A Research and Information Guide

Much current popular culture assumes that its audience is knowledgeable of the American musical. References to, and parodies of, specific musicals are frequently a part of episodes of The Simpsons and South Park, and ads for companies as diverse as The Gap and the World Wrestling Entertainment promotion recently have restaged numbers from West Side Story to plug their products or events. Rarely, if ever, are the sources acknowledged; it is simply taken for granted that a general audience will understand the quotations and parodies. »

07 Mar 2005

STRAUSS: Die Fledermaus

Film freezes time and even serves to transport an enrapt viewer into its temporal world. Viewers of the recent DVD release of a December 1980 performance of Strauss’ operetta classic, Die Fledermaus, may not be quite as ecstatic as the local audience, but resistance is futile. Have some champagne ready for the curtain calls. Lovers of this art form will rejoice, and even the operetta-resistant (of which your reviewer is one) must succumb to the energy, star power, and sheer good will of all involved. »

07 Mar 2005

New Music in Boston

The Fromm Music Foundation has been a resident at Harvard for 32 years, commissioning new works and underwriting new-music activity in several venues, including Tanglewood. »

07 Mar 2005

Don Carlo at the Met

“Don Carlo” is Verdi’s “Hamlet.” It’s always an event when the Metropolitan Opera brings back John Dexter’s striking 1979 production of this long, complex, musically profound and psychologically perceptive work, based on Schiller’s play about the indecisive young crown prince Don Carlo and his brutish father, Philip II of Spain, during the madness that was the Inquisition. »