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Elsewhere

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Bampton Classical Opera Young Singers’ Competition 2017

Bampton Classical Opera’s third Young Singers’ Competition takes place this autumn, culminating in a public final at Holywell Music Room, Oxford on November 19. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Peter Kellner announced as winner of 2018 Wigmore Hall/Independent Opera Voice Fellowship

Independent Opera (IO) was very present at the Wigmore Hall last week. On Thursday 5 October, IO announced 26 year old Slovakian bass Peter Kellner as the winner of the 2018 Wigmore Hall/IO Voice Fellowship, a two-year award of £10,000 plus professional mentoring from IO and the Wigmore Hall. A graduate of the Konzervatórium Košice Timonova and the Mozarteum University Salzburg, Peter is currently a member of Oper Graz in Austria where later this season he will sing the title role of Mozart’s Le nozze di Figaro and Colline in Puccini’s La bohème.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

‘Never was such advertisement for a film!’: Thomas Kemp and the OAE present a film of Strauss's Der Rosenkavalier at the Oxford Lieder Festival

Richard Strauss’s Der Rosenkavalier was premiered at the Dresden Semperoper on 26th January 1911. Almost fifteen years to the day, on 10th January 1926, the theatre hosted another Rosenkavalier ‘premiere’, with the screening of a silent film version of the opera, directed by Robert Wiene - best known for his expressionistic masterpiece The Cabinet of Dr Caligari. The two-act scenario had been devised by Hugo von Hoffmansthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).


OPERA TODAY ARCHIVES »

Recordings

Tudor 7198 [CD]
18 Oct 2017

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding. »

Recently in Recordings

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21 Jun 2005

COUPERIN: Les Concerts Royaux

If you’ve recently browsed the shelves in a bookstore or Blockbuster, you would have to be oblivious not to notice titles such as The DaVinci Code, the Romanov Prophecy, or films like National Treasure and Kingdom of Heaven. Responses to these titles suggest an increased interest in historical topics and journeys that provoke us to unravel clues that, in the end, will reveal an ultimate truth. Works that exude knowledge and mystery have always been popular in music, because it is by the dissemination of clues and their eventual interpretation that lead to the re-creation of a musical moment in history. One might even call it one of the earliest forms of a “treasure hunt.” In this high quality CD, the Concert des Nations directed by Jordi Savall, has successfully disseminated the few details left by Couperin and re-created what are perhaps the most important works of the French royal court: the Concert Royaux. Having already recorded Couperin’s Pièces de Voile, Les Nations, and Les Apothéoses, the Concert Royaux would comprise the second category of chamber works written by Couperin for the Court of King Louis XIV. To gain a better understanding of the general purpose of these concerts, you might think of them as relative to Handel’s Music for the Royal Fireworks, but only in their sense of purpose. Their stylistic elements couldn’t be more diverse. »

18 Jun 2005

A Scottish Lady Mass: Sacred Music from Medieval St. Andrews

Despite theoretical beginnings several centuries earlier, we have come to think of early polyphony as having its first “golden age” in twelfth- and thirteenth-century Paris, an environment teeming with things new: the University of Paris, the Cathedral of Notre Dame, and the large-scale organa by Leoninus and Perotinus. If our attention is drawn to Paris, it is with good reason. But significantly, the musically innovative style of the Parisians had a geographic dissemination that took it to places like St. Andrews in Scotland, home to a cathedral roughly contemporary with Notre Dame and, to continue the symmetry further, in the fifteenth century, also home to Scotland’s oldest university. A run of Norman bishops in St. Andrews secured a degree of continentalism in the local ecclesiastical culture, and one of the most important manifestations of this is the Scottish manuscript of Parisian repertory that we today know as “W1.” W1 is a copy, in all likelihood one made at St. Andrews, of the Parisian Magnus liber organi — the “great book of organum” by Leoninus, as well as other works, some of them local. And it is from this local Scottish repertory contained within W1 that Red Byrd has fashioned their “Scottish Lady Mass.” »

16 Jun 2005

SCHÜTZ: Historia der Auferstehung Jesu Christi

In the seventeenth century Germany did not move quickly to embrace the new oratorio genre, despite its mainstream cultivation in Italy. Arguably, in fact, the Italianism of the genre may have made it suspect in some Protestant circles, and contributed to its slow cultivation. However, German interest in musical settings of sacred narrative is clear, given the examples of historiae composed by Heinrich Schütz and his contemporaries. These historiae present Biblical stories without modern poetic interpolations, and Schütz’s “Resurrection History” of 1623 is one of the most compelling. Music historians have rightly seen in the historia an antecedent of the German oratorio, but in its own right — and especially in Schütz’s compositions — it is a rich form, liturgically functional and compositionally sophisticated, that need not be harnessed to the more prominent oratorio to warrant our attention. With this recent recording of the “Resurrection History,” Manfred Cordes and Weser-Renaissance Bremen add a fifth installment to their series of Schütz recordings for Classic Production Osnabrück and with it a welcome new performance of this significant work. »

15 Jun 2005

Immortal Fire: Music for Female Saints

The recording “Immortal Fire” presents a varied anthology of music for female saints, excellently sung by the Girl Choristers and Lay Clerks of Winchester Cathedral under the direction of Sarah Baldock. Much of the music is Marian, with additional pieces in honor of St. Cecilia, St. Margaret of Scotland, and St. Ursula. Some of the works are highly familiar — Britten’s youthful “A Hymn to the Virgin,” and his popular setting of Auden’s “A Hymn to St. Cecilia” for instance — and the performances seem familiar, as well. As the pieces are canonical within the cathedral repertory, so too are the interpretations, sung with polish and high accomplishment, but few surprises. However, other works are new or less familiar. For example, Judith Bingham’s “Margaret, Forsaken,” a work commemorating Margaret of Scotland, was commissioned for this recording. The composer’s imaginative use of patterned repetition and ornamental organ effects are evocative of a North Sea moodiness, and the choir responds with an impressive reading that is both intense and dramatic. Herbert Howells — never far from the cathedral choir folder—is represented by two works, a “Hymn for St. Cecilia” and a “Salve Regina.” The former is an expansive hymn tune with a wonderfully uplifting descant to its final verse. The “Salve” is an early work whose chordal gestures are reminiscent of Vaughan Williams, but in the main it is a work showing the developing harmonic fingerprints of Howells’ musical signature, with sweet dissonant propensities and chromatic inflection. Howells graces the concluding acclamations with a memorable treble solo — the embodiment of the text’s “dulcis” — gracefully sung by Tempe Nell. »

14 Jun 2005

Dame Gwyneth Jones sings Wagner

This CD is a digital remastering of an original 1991 recording of Gwyneth Jones in selections from Tannhäuser, Lohengrin, Tristan und Isolde and Götterdämmerung. Jones was (and is) one of the great interpreters of Wagner, and the release of this CD is a welcome event, not only to her many friends, but all of us who are fascinated by the interpretation of Wagner’s works. The recording is clearly meant to serve as a recorded monument to her artistry. Unfortunately, the CD is marred by many problems that make it less than satisfactory. »

14 Jun 2005

RESPIGHI: La Campana sommersa

Ottorino Respighi (1879-1936) is known best in the United States for his tone poems, including the Pines of Rome, the Fountains of Rome, and Roman Festivals, and, perhaps for some of his suites of early music, like the sets of Ancient Airs and Dances that reflect his detailed orchestrations. During his lifetime, however, his operas were known, and they include Re Enzo (1905); Semirama (1910); Belfagor (1921-22); La bella dormente nel bosco (1916-21); La campana sommersa (The Sunken Bell) (1923-27); Maria Egiziaca (1929-31); La Fiamma (1931-33); Lucrezia (1935). It is unfortunate that recordings of these works are somewhat rare, but that is quickly remedied by the recent issue of La campana sommersa on the Accord label. »

14 Jun 2005

DONIZETTI: Elvida

It is an unfortunate fact that operas outside of the common repertory have in the past been deemed less worthy than those included in what amounts to a popular "play list" of works that consistently draw audiences. »

14 Jun 2005

VIVALDI: Arsilda, Regina di Ponto

Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant’Angelo in the fall of 1716. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier. Domenico Lalli, his librettist, who settled in Venice in 1710 after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century. »

12 Jun 2005

SCHUMANN: Dichterliebe & Kerner-Lieder

Ulf Bästlein’s recent compilation of Lieder by Schumann presents fine performances of the works listed in the title, the cycle Dichterliebe (to texts by Heinrich Heine) and the Liederreihe usually referred to as the Kerner-Lieder for the twelve settings of poetry by author Justinus Kerner. It also contains some songs that may be less familiar, including several other settings of Heine: “Der arme Peter,” op. 53, no. 3, “Die beiden Grenadiere,” op. 49, no 1, and the late work “Dein Angesicht,” op. 127, no. 2. This is a rich and focused program that offers some of Schumann’s finest Lieder on a single disc. »

11 Jun 2005

SCARLATTI: Disperato Amore

Alessandro Scarlatti, a contemporary of Handel and father of Domenico Scarlatti, was a prolific composer of cantatas, oratorios, and operas. He wrote more than 60 operas and 600 cantatas. Contemporaries frequently distinguished between styles according to the locale in which they might have been performed or to which they were appropriate: the church, chamber, and theatrical styles. The cantata was considered a genre of the chamber style and offered listeners refined counterpoint and delicate changes in dynamics; cantatas of the period generally set pastoral or love texts and employed recitative alternating with arias. Many of Scarlatti’s cantatas were written for performances at aristocratic residences; most survive in manuscript form and were never published. »

11 Jun 2005

GLUCK: Alceste

This two-disc performance was performed and recorded on December 12, 1981 at Covent Garden in London. The recording is one of a series of Ponto releases dedicated to Dame Janet Baker, who performs here the role of Alceste. This drama, a collaboration between Gluck and the librettist Calzabigi, was performed in late 1767 and is based on the tragedy by the ancient Greek poet Euripides. It was written in response to Empress Maria Theresa’s grief over the death of the emperor, given that the text is practically synonymous with conjugal devotion. Calzabigi’s libretto specifically emphasizes Alceste’s sacrifice for her husband throughout, and is dedicated to Maria Theresa. The staging of the opera was delayed by a number of other royal deaths in 1767. Alceste was revived in 1770. »

11 Jun 2005

WEBER: Oberon

In a certain sense, each of Carl Maria von Weber's final three operas: Der Freischütz, Euryanthe, and Oberon belongs to a different genre. Freischütz — the only one of these three that still in any way forms a part of the repertoire — builds on the folk-like traditions of the Singspiel, while Euryanthe is more closely related to the grand operas that were to become so important in the 1830s and 1840s. »

10 Jun 2005

HAYDN: Symphonies no. 91 & 92 (“Oxford”) and Scena di Berenice

This wonderful recording features two Haydn symphonies composed in the year 1789, which frame the short dramatic scena Berenice, premiered in London in 1795. The autograph scores of the two symphonies were dedicated and given to Claude-Francois-Marie Rigoley, Comte d’Ogny, cofounder and patron of the “Concert de la Loge Olympique,” an association for which Haydn had already written the so-called “Paris” symphonies in 1785/86. »