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Elsewhere

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.


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Reviews

31 Jul 2014

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years. »

Recently in Reviews

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06 Nov 2005

RIGHINI: Il Convitato di Pietra (The Stone Guest)

Born in Bologna on January 22, 1756, Righini’s musical career started early when he was a choirboy at San Petronio. When he was nineteen, Righini made his professional singing debut as a tenor in Parma, and one year later he joined the Bustelli Opera in Prague. »

02 Nov 2005

ROSSINI: Der Barbier von Sevilla (Barbiere di Siviglia)

Rossini’s masterpiece is based on Beaumarchais’ first of three plays—Le Barbier de Séville, La folle journée ou Le Mariage de Figaro, and La Mère Coupable—detailing the adventures of Figaro, a barber from Seville, Spain. Rossini was not the first, nor the last composer to set the story to music: Giovanni Maria Pagliardi, Friedrich Ludwig Benda, Johann André, Francesco Morlacchi, Miguel Nieto and Gerónimo Jiménez, Nicolo Isouard, and H. R. Bishop are some of the names that come to mind. »

01 Nov 2005

BORODIN: Prince Igor (Highlights)

Not long ago the record label Delos announced that they would embark on a series of studio recordings of highlights from operas. This intriguing idea seemed to address the recording crisis spawned by the shrinking market for full studio sets, with their high cost for both producer and purchaser. »

01 Nov 2005

BIBER: Missa Christi resurgentis

In 1682 the Archbishopric of Salzburg celebrated its 1100th anniversary with an appropriately festal service in the Cathedral, depicted in an engraving by Melchior Küsel. Küsel’s engraving is a striking image, bringing into harmony the grand scale of the building (not yet one hundred years old), the ornamental richness of the interior, and the strong subdivisions of its space. »

30 Oct 2005

SAINT-SAËNS: Samson et Dalila

French composer Camille Saint-Saëns was a child prodigy, musicologist, astronomer, archeologist, poet, writer, teacher, and one of the most important and prolific composers of his generation. Yet, Saint-Saëns’ reputation has, for some time, mainly rested on his instrumental works the “Organ” Symphony, the overture Carnival of the Animals and his oratorio turned opera, Samson et Dalila. »

30 Oct 2005

PUCCINI: Manon Lescaut

Manon Lescaut was Puccini’s first big success, and his first contribution to the repertory. Yet it’s popularity has always lagged behind that of the composer’s following three mega-hits La Boheme, Tosca, and Madama Butterfly, as well as some later successes such as Turandot and even Gianni Schicchi. »

30 Oct 2005

Ewa Podleś — Rossini Gala

If Rossini could set a laundry list to music, then Ewa Podleś is one of the few candidates available to sing it. In this CD, recorded live at the Polish Radio Hall in Wroclaw (Wratislavia), during the thirty third International Festival Wratislavia Cantans Music and Fine Arts, the Polish contralto gives ample proof of her status as one of the great singers of her generation. »

27 Oct 2005

ROSSINI: La Cenerentola

Naxos is perhaps the only significant major label regularly releasing complete opera sets. A few have won widespread praise, and certainly the prices, at super-budget level, make them attractive to both first-time buyers and those whose collections scarcely justify an additional set. »

27 Oct 2005

ALBRIGHT: Berlioz's Semi-Operas

This book examines two of the more interesting musical pieces of the Romantic movement: Romeo et Juliette (1839) and La damnation de Faust (1846). Both were composed by Hector Berlioz (1803-69), and were very much constructed in a Gesamtkunstwerk mode where literature, music, and the other arts are fused together in a hybrid style that defies genre and categorization. »

26 Oct 2005

Great Operatic Arias, Vol. 17 — Christine Brewer

Beethoven Shines Thru the Mix In the best of all possible worlds this recording of arias and show tunes would have been done in the original languages, the language of composition, with the vocal sounds intended by Gluck, Mozart, Weber, Wagner and others who defined great singing. »

26 Oct 2005

BACH: Cantatas, vol. 18

Here we have another part of John Eliot Gardiner’s remarkable Bach Cantata Pilgrimage, undertaken to perform—and record live—all of Bach’s surviving church cantatas at many different churches in a single year. »

26 Oct 2005

SZYMANOWSKI: Piano Music

Piotr Anderszewski is a talented young pianist, who makes Szymanowski’s music come alive in his recent recording of three of the composer’s major pieces. »

24 Oct 2005

King Arthur - the first musical?

Reviewing this DVD recording of Purcell’s music-drama “King Arthur” from the 2004 Salzburg Festival was both a pleasure and a pain. The pleasure came from the intense, contagious sense of sheer fun that illuminates this production by Jurgen Flimm and Nikolaus Harnoncourt from start to finish. »

24 Oct 2005

The Karajan Collection—Wagner Orchestral Music

“Das Wunder Karajan” – “the miracle of Karajan” – is a phrase associated with the conductor since he was thirty years old, and that phrase holds true in his recorded legacy. In addition to recent DVD releases, EMI has issued a series of CDs in its “The Karajan Collection,” which preserves many fine studio recordings. »

24 Oct 2005

The Karajan Collection—Philharmonia Promenade Concert

The rich legacy of Herbert von Karajan includes a number of recordings with various orchestras around the world, and among them is the Philharmonia Orchestra, which is documented in the CD entitled Philharmonia Promenade Concert. As Richard Osborne recounts in the notes that accompany this release, Herbert von Karajan made a number of recordings with the Philharmonia Orchestra between 1948 and 1960. »

24 Oct 2005

DVOŘÁK: Tone Poems

In a richly Bohemian folk-style, the Czech poet Karel Jaromír Erben produced a collection of enchanted poetry that inspired Antonín Dvořák to compose his expressive array of hauntingly dark tone poems. Ultimately, the main character of each poem suffers a tragic consequence for their transgressions, ranging from the thoughtless utterances of a frustrated mother, to disobeying a parent, to murder. »

23 Oct 2005

PUCCINI: Tutti Libretti d'Opera

This is a collection of the original libretti to Puccini's Le Villi, Edgar, Manon Lescaut, La Bohème, Tosca, Madama Butterfly, La Fanciulla del West, La Rondine, Il Trittico (Gianni Schicchi, Il Tabarro, Suor Angelica), and Turandot in nine booklets within a cardboard slipcase. »

21 Oct 2005

BRUCKNER: Symphony No. 8

In recent years orchestras like the London Symphony have begun to release their own CDs, in lieu of pursing contracts recording firms. While the implications of this are best left to another discussion, it is significant to see that Royal Concertgebouw Orchestra now has its own label, and among its recordings is a fine live performance of Anton Bruckner’s Symphony no. 8 in C minor, led by its conductor laureate, Bernard Haitink. This recording is actually made from performances given on 18 and 20 February 2005, and preserves an outstanding recent interpretation of this enduring work by Bruckner. »

21 Oct 2005

Walisische Lieder sind eine Entdeckung wert

Das walisische Label SAIN (das walisische Wort für "Sound"), gegründet 1969 von Dafydd Iwan, Huw Jones und Brian Morgan Edwards, hat einen starken sozialen und politischen Anspruch und ist darauf spezialisiert, CD's mit jungen Sängern und Liedern aus Wales und in walisischer Sprache herauszubringen. »

21 Oct 2005

Welsh songs worth discovering

SAIN (the Welsh word for 'sound', and pronounced like the English word 'sign') is Wales' leading recording company, founded in 1969 in Cardiff by Dafydd Iwan, Huw Jones and Brian Morgan Edwards. The label has a strong social and political message, and for the first few years, SAIN specialised in songs by young singers, many of them concerning the national and linguistic resurgence of Wales, which had begun in the 60's. »

18 Oct 2005

BERKELEY: Ruth

You may never have heard of Lennox Berkeley. But his music was admired by many of the most notable composers of the mid-20th century—Britten and Poulenc were close personal friends, and he has a dedicated band of admirers today (there is a Lennox Berkeley Society). Yet, for one reason or another, Berkeley has never become a household name. »

18 Oct 2005

XL—Œuvres pour grand chœur

The “XL” of the title of this recording is, as the program book notes, a double reference. First, read as Roman numerals, it points to the extraordinary number of voice parts in Thomas Tallis’ famous “Spem in alium” and its modern analogue here, Antony Pitts’ “XL,” a forty-voice setting of text from Psalm 40. »

14 Oct 2005

MARSCHNER: Hans Heiling

This Dynamic set spills over with rewards for opera lovers, especially those looking for something a little (or a lot) off the beaten path. »

13 Oct 2005

HAYDN: Missa Cellensis
MOZART: Credo Messe
PARADISI GLORIA: Psalms
PARADISI GLORIA: Stabat Mater

One can divide these recordings into two groups of two compact discs each. Much of the music of the two Mass settings offered here was composed in the mid 1770s. We have a young Mozart—twenty years old and in the employ of Archbishop Colloredo of Salzburg when he composed this Credo Mass—and the veteran Franz Joseph Haydn, twice Mozart’s age and firmly settled at the Esterhazy court, when he completed the Credo, Sanctus, and Agnus Dei movements of the Missa Cellensis, a work he had begun in 1766 with the Kyrie and Gloria movements. »

13 Oct 2005

Anna Christy in Recital

OMAHA — Having first heard Anna Christy a few years ago in the title role of Lucia di Lammermoor, she clearly had a bright future ahead of her. On Tuesday, this opinion was not only reaffirmed, but it is now manifest that this lovely and elegant soprano is well on her way to becoming one of the great coloraturas of the 21st Century. »

11 Oct 2005

OFFENBACH: Les Fées du Rhin (Die Rheinnixen)

The genre of grand opera is not traditionally associated with Jacques Offenbach’s posthumous reputation. Yet as demonstrated by the performances documented in the present recording and essays in the accompanying notes, a revision of our assessment of Offenbach’s strengths is long overdue. »

10 Oct 2005

HANDEL: Teseo

“Teseo” is one of those “might have been” Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handel’s genius is simply too good a chance to miss. »

08 Oct 2005

MAHLER: Lieder eines fahrenden Gesellen; Fünf Rückert-Lieder

In recent years the few recordings of Mahler’s Lieder with piano accompaniment demonstrate the delicacy of the music in this format and its connections traditional Romantic Lieder. To such fine examples as those by Stephan Genz (on Hyperion) and Thomas E. Bauer (on Ars Musici), Konrad Jarnot is a fine addition. »

06 Oct 2005

ORFF: Carmina Burana

Once hailed by the Nazis as a symbol of Aryan supremacy, Carmina Burana has come to be recognized as a powerful expression of the gluttony and depravity present in a medieval, pagan society. An effective performance of Orff’s musical adventure must allow audiences to envision the “imagines magicae,” or magical images conveyed through the convergence of music and choreography. »

04 Oct 2005

RAVEL: Shéhérezade
DUPARC: Mélodies

Konrad Jarnot is a young baritone who brings a wonderful vitality to the music he has recorded. He also has another Oehms release, a selection of Lieder by Gustav Mahler, which is engaging for the strong sense of line he brings to that repertoire, which is precisely what he brings to this collection of French vocal music. »

04 Oct 2005

PROKOFIEV: Romeo and Juliet
RESPHIGHI: Pini di Roma

The biographies of the two composers whose works are represented on this disc, Sergei Prokofiev and Ottorino Respighi, share many common threads. In addition to moving in similar circles early in their lives (for example, both studied with Rimsky-Korsakov and both were later connected with Diaghilev), they similarly composed in totalitarian regimes at the end of their careers. »