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Elsewhere

Dolora Zajick about her Institute for Young Dramatic Voices

"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

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.

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.


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Reviews

25 Aug 2014

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.  »

Recently in Reviews

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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. »

03 Oct 2005

CONRADI: Die schöne und getreue Ariadne

Since its inception in 1980, the biennial Boston Early Music Festival has grown to international stature of the first rank, and while its programming is diverse in scale and repertory, its focus in recent years has been on full-scale productions of baroque opera, including Monteverdi’s L’Orfeo, Rossi’s Orfeo, Cavalli’s Ercole Amante, Lully’s Thésée, and this past summer, Mattheson’s Boris Goudenouw. »

30 Sep 2005

MENDELSSOHN BARTHOLDY: Der Onkel aus Boston

For the most part, the posthumous reputation of Felix Mendelssohn (1809-43) resides on the composer’s instrumental works and of all his vocal music, his two oratorios, Elias and Paulus are familiar to the general public. »

29 Sep 2005

Brigitte Fassbaender: Lieder — Mahler, Berg, Ogermann

Since 1995 the mezzo-soprano Brigitte Fassbaender no longer performs as a singer, but has devoted her recent career to directing. »

29 Sep 2005

FALLA: El amor brujo; El sombrero de tres picos; La vida breve

With this CD, Naxos continues its well deserved reputation for producing recordings at affordable prices, and more often than not, but not limited to, music that is rarely performed, or with a limited audience. »

28 Sep 2005

The Very Best of Thomas Hampson

The Very Best of Thomas Hampson is an excellent selection on CD of Hampson’s recordings from various points in his career. The American baritone is one of the international stars of classical music for both his roles on the opera stage and his work as a recitalist. »

28 Sep 2005

SCHNEITZHOEFFER: La Sylphide

This is one of the most enchanting and lovely ballet performances that I have ever seen, and believe me I have seen quite a few! First performed in Paris on May 12, 1832, La Sylphide marks the advent of Romanticism in ballet. »

28 Sep 2005

BACH: Cantatas, Vol. 8

On Christmas 1999, the Monteverdi Choir and English Baroque Soloists with conductor Sir John Eliot Gardiner set out on one of the most unusual musical tours ever undertaken. »

28 Sep 2005

BACH: Cantatas, Vol. 6

J. S. Bach’s large output of church cantatas and their prominence in his duties as Kantor at the Thomaskirche in Leipzig have made them central to our modern understanding of Bach. »

27 Sep 2005

MAHLER: Symphony No. 5

Gustav Mahler’s Fifth Symphony is a tour de force that can tax a conductor and orchestra in live performances. While it often takes several sessions in the studio for performers to match the required intensity of playing with exuberance that is also part of the work, some live performances convey that fine balance immediately. »

26 Sep 2005

On Wings of Jewish Songs — Music from the New Jewish School

Yiddish is a language based on medieval German that developed separately from modern German. It spread throughout Eastern Europe, where it acquired words from Hebrew, as well as Russian, Polish, and other Slavic languages. »

26 Sep 2005

SCHUMANN: Liederkreis, op. 24; Dichterliebe, op. 48

In addition to some notable, recent recordings of selected Lieder by Robert Schumann (1810-56), two comprehensive editions of the composer’s works in this genre are underway, one by Hyperion, which is almost complete and another that is just starting on the Naxos label. Performed by Thomas E. Bauer, baritone and his wife, the pianist Uta Hielscher, the first volume is as promising as it is ambitious. »

26 Sep 2005

Arvo Pärt: A Tribute

Paul Hillier has written the book on Arvo Pärt, quite literally. He has spent significant time with the Estonian composer interviewing him, working with him, and studying his music. He has not only authored the only text researching Pärt's music and background, but Hillier also seems to one of the first to perform and record his music, thereby exposing it to the general public. »

26 Sep 2005

LIDERMAN: The Song of Songs

Now this is one beautiful piece of music, a setting of the text of the “Song of Songs,” taken from the Hebrew Bible by the composer Jorge Liderman. Liderman is Argentinian by birth, now on the composition faculty of the Department of Music at the University of California at Berkeley. His work shows a distinct ability at the craft of composition: this is a very attractively put together work. »

25 Sep 2005

BENNETT: The Mines of Sulphur

Glimmerglass Opera has been doing innovative and often remarkable work for a number of years. Thankfully, many of their productions have been shared with the New York City Opera and, thus, with a large opera-going public. »

25 Sep 2005

GLINKA: Ruslan and Lyudmila

Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer. »

24 Sep 2005

ROSSINI: L’Italiana in Algieri

This newly re-mastered recording was originally released in 1954 by Columbia (Qcx 10111/12), later reprinted by EMI (C163-00981/2), and it includes, besides Giulieta Simionato in the title role, three other members of the original 1953 production at La Scala: tenor Cesare Valleti, and bass Mario Petri in their respective roles of Lindoro and Mustafà and Conductor Carlo Maria Giulini. »

24 Sep 2005

SHOSTAKOVICH: Symphony No. 13 ("Babi Yar")

Audiences accustomed to hearing the grandeur of Shostakovich’s early symphonies may initially be disillusioned when listening to his Thirteenth Symphony for the first time. »

22 Sep 2005

TALLIS: Spem in alium – Missa Salve intemerata

With a career spanning the monarchies of Henry VIII, Edward VI, Mary Tudor, and Elizabeth I, Thomas Tallis’s musical pragmatism became both a necessary and distinctive trait. »

22 Sep 2005

DONIZETTI: Francesca di Foix

Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one (Venice 1818), a genre that many twentieth-century historians considered respectable primarily because of contributions made to it by Gioachino Rossini, the Donizetti’s other single-act works generally have been brushed aside as less important than the larger operas. »

22 Sep 2005

STOCKMANN: Musica Nuptialis

This recording of Musica Nuptialis celebrates occasional music and does so in a fittingly occasional manner. »

22 Sep 2005

Lado Ataneli — Opera Arias

Baritone Lado Ataneli’s self-titled debut CD contains an impressive selection of arias intended to showcase the singer’s style, range, and versatility. »

22 Sep 2005

Penny Merriments: Street Songs of 17th Century England

In 1728 John Gay’s Beggar’s Opera was produced in London as a sardonic response to the ongoing craze for Italian opera seria. »

22 Sep 2005

MAHLER: Symphony no. 2 “Resurrection”

Among recent recordings of music by Gustav Mahler, the 2004 release of the composer’s Second Symphony conducted by Claudio Abbado stands out as an intense and highly charged performance. »

22 Sep 2005

SCHOENBERG: Accentus | Ensemble intercontemporain

Schoenberg, born in Vienna in 1874, is remembered as a composer and a music theorist. He held strong attitudes toward the craft of composition and its pedagogy, which have been received as the beginnings of a theory of music, though Schoenberg denied ever attempting to create a systematic theory. »

21 Sep 2005

WEILL: The Firebrand of Florence

When I was a young child, my mother purchased a blouse and brought it home to the acclaim of my aunts and older sisters. "Oh, that's smart!" they pronounced, cooing and stepping back to admire the thing. Not a little bit jealous, I was taken aback. »

19 Sep 2005

All My Heart — Deborah Voigt sings American Songs

“I send my heart up to thee, all my heart in this, my singing” Robert Browning. The title of this CD is taken from the text of one of Amy Beach’s Three Browning Songs, which close the program. Given Deborah Voigt’s ability to sing this program with completely natural expression and crystal clear diction while maintaining a consistently high standard of vocal production and musicianship, it is easy to believe that in her singing she shares with us something of what is most dear to her own heart. Fortunately for us, in doing this she is also giving us a fine recording of American art songs, some of which will be quite familiar to many listeners, others of which will be wonderful new discoveries. »