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Elsewhere

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).

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.


OPERA TODAY ARCHIVES »

Recordings

04 Oct 2017

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.  »

Recently in Recordings

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04 Apr 2005

BALAKAUSKAS: Requiem in Memoriam Stasys Lozoraitis

Of the three Baltic States, both Latvia and Estonia are better known for choral music than Lithuania. Yet, Osvaldas Balakauskas, born in 1937, could be one of the finest lesser known modernist composers of the 20th century. Resisting both the neoclassical Soviet aesthetic of Prokofiev and a trendy nationalist folk identity, Balakauskas embraced the avant garde developments of Western Europe. Composing from dodecaphonic tonal modes and complex rhythmic constructs, he can most accurately be compared to Olivier Messiaen. »

04 Apr 2005

Feodor Chaliapin sings Russian folk songs

This new release from Hänssler Classics presents an anthology of live and studio performances by the Russian bass Feodor Chaliapin (1873-1938), undoubtedly one of the greatest singers in recorded history. The title of the album, “Feodor Chaliapin sings Russian Folk Songs,” is somewhat misleading. Apart from traditional songs such as “Mashenka,” “Eh, Van’ka,” and “Down the Volga,” the recording includes arrangements of 19th-century popular songs such as “Dubinushka,” “Down the Peterskaya,” and the perennial Gypsy favorite “Black Eyes,” as well as a selection of salon romances, art songs, and ballads by Mikhail Glinka, Alexander Dargomïzhsky, Anton Rubinstein, and Modest Musorgsky, among others. Most of the selections on the new CD have been previously released on various labels, with the possible exception of “Dubinushka,” which I have not been able to find among the recordings currently available. Hence, avid Chaliapin collectors should be aware that the Hänssler release offers little if anything new to them. Those music lovers still unacquainted with Chaliapin’s art, however, or those whose exposure to this singer has been limited to his opera recordings, would find this album a great insight into a spectacular voice and a unique artistic persona. »

03 Apr 2005

Caballe: Beyond Music

Monserratt Caballé’s journey to La Scala and the Metropolitan Opera was truly a road of talent, dedication, and will. One of the most beautiful and athletic voices of our generation, declared as Callas’ successor, Caballé dominated both the dramatic spinto and bel canto arenas, transcending the realm of the opera world to influence the popular masses. »

02 Apr 2005

Verdi Gala

As a live occasion, the gala format allows for a festive atmosphere — a variety of singers trot back and forth across the stage, usually performing a series of “opera’s greatest hits” with no distractions, if one may, in the way of costume, set, or dramatic context. Recorded for posterity, such gala events can lose, for many viewers, the attractions of the live atmosphere and become rather labored exercises. »

31 Mar 2005

BRAHMS: Lieder, Complete Edition, Vol. 8

This latest release in the collaborative project to record the complete songs of Johannes Brahms focuses on four opus numbers, among the last groups of Lieder to be so designated by Brahms. The present recording represents typical songs from the so-called mature composer, most of these having been written between 1883-88. Each of the opus numbers includes a mix of texts drawn from the works of contemporary, well known poets and from the milieu of popular folk-songs. As an example of this mix, the songs from op. 97 comprise settings of poems by Reinhold, Alexis, and Groth, as well as two songs for which the source is simply given as Volkslied. As in most of the previous releases of this project, the singers Juliane Banse and Andreas Schmidt divide the repertoire and are accompanied by the pianist Helmut Deutsch. »

30 Mar 2005

LAURIDSEN: Lux aeterna

The title piece, Lux aeterna (light eternal), a five-movement work by American composer Morton Lauridsen (b.1943), is intended to be an “intimate work of quiet serenity.” The composer’s quest for texts that express “hope, reassurance, faith and illumination in all of its manifestations,” results in a free compilation from various liturgical observances or feasts: the Introit from the Requiem; select verses of the Te Deum, sung at the end of Matins on Sunday or in thanksgiving for a special blessing, interpolated with a verse from the Beatus vir (Ps. 111:4); verses from O nata lux, the Lauds hymn for the feast of the Transfiguration; Veni sancte spiritus, the sequence for Pentecost; and the Agnus Dei and Communio from the Mass for the Dead with an “Alleluia” tag added by the composer. Admittedly, the work is non-liturgical. Still, the fashioning of these texts causes the work to be viewed by some as a “Requiem” or quasi “German Requiem.” Indeed, it is neither a Requiem nor a Mass for the Dead, in spite of the opening and closing movements. As a meditation on “light eternal,” texts other than those from the Requiem could have been used. One need only read the Exsultet, which overflows with the symbols and imagery of “the Light” that conquers death, and which dispels darkness. Further, the theme of the texts used in the three inner movements is more Trinitarian (Te Deum = God the Father; O nata lux = God the Son; Veni sancte spiritus = God the Holy Spirit). Unfortunately, their importance and strength is reduced to the occurrence of the word “light” in their verse. That being said, the texts are not what the ear remembers in this work; it is the music. The words are merely the vehicle for the vocalists. »

29 Mar 2005

VERDI: Falstaff

Years ago I remember reading a commentary on Verdi by a respected critic — Conrad L. Osborne — to the effect that most of early Verdi could have been written by Donizetti except for the first great success, Nabucco, that could have been written by Rossini. If one accepts that proposal, it would mean that Rossinian operas bracketed Verdi’s career, for surely Falstaff, at the very end, reflects the energy, elegance, joyousness and sophistication of Rossini from one end to the other. »

29 Mar 2005

Maria Callas — Living and Dying for Art and Love

The legend of Maria Callas has transcended her death, and after more than twenty five years, titans of opera still proclaim her the ultimate Diva: artist, actress, musician, lover and woman. Iambic Productions and BBC’s 2004 DVD, Maria Callas: Living and Dying for Art and Love, is a fascinating look at the life of Callas from the perspective of her final role and performance at Covent Garden, Tosca. »

28 Mar 2005

BEETHOVEN: Fidelio

I grew up during the Age of LP and compared with CD’s the size had its disadvantages but there were some distinct gains as well, especially in the field of artwork. Collectors may have the same set on CD but they will rarely separate from those glorious RCA-Soria recordings like Carmen (Price, Corelli) or Otello (Vickers, Gobbi) with their lavish booklets. Though there are no colour photographs in this set under review I nevertheless was reminded of those old glories. This 4Cd-set is so wonderfully packed and designed into what looks like a small hard cover book that just paging in it gives one already some joy. Of course, neither performance is a great discovery for the collector. The Böhm-set already appeared twice on LP and twice on CD. The Furtwängler only has one LP- and one CD-reissue, which is quite understandable as the conductor led exactly the same cast the same year for a commercial recording on HMV (3 LP’s) and with all spoken dialogues cut as if producer Legge didn’t trust the singers to speak their lines. At the time he was not alone in this false belief. The next commercial Fidelio (Fricsay) came out on DG with actors for the dialogues; an even more ridiculous solution as one could clearly hear the differences in timbre between actors and singers. »

28 Mar 2005

SALAZAR: Vísperas Completas de Nuestra Señora

Sacred music from the Spanish Baroque deserves to be held up next to the finest Italian examples of the same period. Equally celebratory in nature, the music written for use in Catholic Vespers services on this recording is an example of the mixed concertante style developed in Venice. While not as monumental as Claudio Monteverdi’s conglomerate Vespers of 1610, the Vísperas Completas de Nuestra Señora by Juan Garcia de Salazar (1639-1710) contrasts polyphonic and homophonic choruses with plainchant, monody, instrumental pieces, and organ improvisation. »

28 Mar 2005

BACH: St. John's Passion

The explosion of research into the music of J. S. Bach allows for innumerable interpretations of his works. Scholars meticulously study the musical source material, letters and writings from the 17th and 18th centuries, and anything else that could possibly lead to an insight into Bach’s musical practice. Invariably, each interpreter achieves new conclusions and raises new questions forming their own distinctive ideal. In the last decade and a half, the dialogue over Bach’s choral music has been particularly active and fierce with proponents of massive romantic proportions and those who prefer single singers and instrumentalists on a part. »

24 Mar 2005

Leontyne Price & Samuel Barber: Historic Performances (1938 - 1953)

Among the leading figures in music in twentieth-century America, the composer Samuel Barber and the soprano Leontyne Price are notable for various reasons, not the least of which is the fact that they worked together at various times. »

22 Mar 2005

BACH: Weinen, Klagen — Cantatas BWV 12, 38 & 75

One of the greatest challenges in compiling a recording of J. S. Bach’s cantatas must be choosing which cantatas to group together. For his Harmonia Mundi release, Weinen, Klagen…, Philippe Herreweghe selects three cantatas that represent the human experience of “desolation and comfort.” These two themes are so central to Lutheran theology they could in fact be found in any number of Bach’s cantatas. Nevertheless, the three cantatas on this recording reflect the variety across Bach’s output. “Weinen, Klagen, Sorgen, Zagen” BWV 12, comes from Bach’s period in Weimar, the double cantata, “Die Elend sollen essen” BWV 75, was the first work Bach presented at his new post in Leipzig, and “Aus tiefer Not schrei ich zu dir” BWV 38 is based strictly on the chorale tune throughout the entire work. Despite their differences, all of these works make the theological transition from earthly desolation to eternal comfort. »

21 Mar 2005

Maria Cebotari sings Mozart, Verdi, Puccini, Strauß and Gounod

So often we get wrapped up in today’s world of great performers that we forget the performers of the past who, directly or indirectly, influenced these performers and shaped the characters they play. Not one singer today can boast working side by side with Richard Strauss or living in Puccini’s heyday, but Maria Cebotari (1910-1949) could. Thanks to a brilliant re-mastered recording by Hänssler Classic, we are now able to take part in signature performances of a woman who is known as the “predecessor” to Maria Callas. »

21 Mar 2005

The Irreplaceable Beverly Sills

OF all the times Beverly Sills was host of the “Tonight” show, her favorite was in 1977, when her guests were three of her closest confidantes: the comedian Carol Burnett, the perky singer and television host Dinah Shore and the pop chanteuse Eydie Gorme. The women got into a spat over who was whose best friend, then kidded the wholesome Ms. Shore about her current beau, the heartthrob actor Burt Reynolds. »

17 Mar 2005

Les Travailleurs De La Mer: Ancient songs from a small island

Cast off the shores of Normandy, the tiny isle of Guernsey lies isolated between the two European powers of England and France. Guernsey, however, has remained independent since 1204, and its government, the Bailiwick of Guernsey, comprises the inhabited islands of Guernsey, Alderney, Sark, Herm, Jethou, Brecqhou and Lihou. Rich in an abundant culture and history, Guernsey is well-known for its sea ports, mystic pagan rituals, potent cider, and poetry. »