By John R Severn [Music & Letters, February 2015]
This article explores how Otto Nicolai and Salomon Hermann von Mosenthal’s Die lustigen Weiber von Windsor (Berlin, 1849) might contribute to an alternative reception history of Shakespeare’s The Merry Wives of Windsor, in which the play’s unusual features—in particular the central role it gives to female agency, family life, and the natural world—are positively valued.
By Rebecca Lentjes [Bachtrack, 28 March 2015]
John Adams has been known to draw inspiration from American writers—Walt Whitman, E. Annie Proulx—for his works, but his most recent composition, Scheherazade.2, is presented as a musical sequel of sorts to the sprawling Middle Eastern collection One Thousand and One Nights. Mr Adams explained at the piece’s world première on Thursday
By Robert Hugill [Planet Hugill]
Joseph Haydn’s last oratorio Die Jahreszeiten (The Seasons) was conductor Sascha Goetzel's choice for the first oratorio performance by his Borusan Istanbul Phiharmonic Orchestra in the Istanbul Lütfi Kirdar ICEC on Thursday 12 March 2015. Goetzel and the orchestra were joined by soloists Miah Persson, Ian Bostridge and Duncan Rock, and the Salzburg Bach Choir.
Monday, March 30, 2015, 7pm
Weill Recital Hall at Carnegie Hall
Hear the stars of tomorrow today in a spectacular gala evening celebrating New York Festival of Song's Emerging Artists programs! Over the past decade, NYFOS has taken a growing interest in mentoring, coaching, and nurturing some of the most promising young vocalists of our era. Many opera programs exist for young artists but there are very few that focus only on the art of song. It is the most exposed and direct kind of performing—no costumes of make-up to mask one's vulnerability—just the musicianship, intelligence, and honesty of the singer. Over 100 young talents have participated in NYFOS residencies and some of our most distinguished alumni will appear in the gala, including Paul Appleby, John Brancy, Julia Bullock, Theo Lebow and Annie Rosen.
By Chris Hastings [Daily Mail, 14 February 2015]
She has dominated the airwaves during 30 years as a chart-topper, but now Radio 1 has decided that Madonna is an immaterial girl and just too old for its teenage listeners.
Despite her determined efforts to look - and sound - youthful, the 56-year-old has been dropped from the station’s playlist that determines which songs are played by DJs during the day.
By David Abrams [CNY Café Momus, 6 February 2015]
There’s little point in arguing whether Stephen Sondheim’s A Little Night Music is, at its core, a musical or an operetta. It could be either, depending on the resources put into the production effort. Syracuse Opera chose to trumpet the work as “operetta,” not musical theater, during the weeks leading up to Friday’s premiere. And that label calls into question the company’s use of a chamber-sized pit orchestra.
By Michael Shae [The New York Review of Books, 24 January 2015]
Maria Callas converted me to opera. I am sure I am not unique in this, except in the particulars. In my early college years I immersed myself in recordings of the nineteenth-century symphonic repertory—Beethoven, Schubert, Brahms, Bruckner, the Russians—but for a long time I refused to listen to opera, would listen to an overture and then rush to change the record before the singing started. Then one day my roommate put Callas’s 1953 Tosca on the turntable and dropped the needle onto “Vissi d’arte.” I had no idea what she was singing, but near the conclusion of that imploring aria, as she comes to the end of the arching wordless phrase that soars from an A down slightly to a G, there is an audible intake of breath. She gasps—or is it a sob?
By John Yohalem [Parterre Box, 25 January 2015]
Operamission, a scrappy little company that performs music from all sorts of eras and styles in venues all over town, is in fact its Kapellmeisterin, Jennifer Peterson. Her latest brainstorm was to give A Countertenor Cabaret, starring no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square, and to live-stream the entire event, with translations of the remarkably varied musical fare.
By David Abrams [CNY Café Momus, 17 January 2015]
Beyond the austere set and surreal visuals, Willy Decker’s controversial 2010 Met production probes deeply into the heroine’s psyche.
By Francis Carlin [FT, 19 January 2015]
Ottorino Respighi (1879–1936) was Italy’s answer to Ravel as far as orchestration is concerned and best known for a trio of tone poems on Rome. He also completed nine operas, none of them on today’s performance radar.
With news that The Metropolitan Opera is having financial problems -- again -- now a dispute is brewing over the assets of the defunct New York City Opera with a view to reviving the company. Why bother?
By Martin Bernheimer [FT, 14 January 2015]
Bartlett Sher’s interpretation of Les Contes d’Hoffmann was a mess at its Met premiere back in 2009. The sets, designed by Michael Yeargan, looked gaudy, the narrative seemed confused, and the stage remained chronically overpopulated.
By Neil Shah [WSJ, 11 December 2014]
Nearly eight million old-fashioned vinyl records have been sold this year, up 49% from the same period last year, industry data show. Younger people, especially indie-rock fans, are buying records in greater numbers, attracted to the perceived superior sound quality of vinyl and the ritual of putting needle to groove.
From Open Yale Courses
Lecture 17 — Mozart and His Operas
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic ways in which classical music differs from Baroque music. He then launches an exploration of Mozart's life and compositional process, making use of Mozart's letters and compositional sketches to illustrate his points. The lecture culminates with a performance of select scenes from Mozart's opera Don Giovanni, featuring guest singer Professor Richard Lalli.
By Matthew Gurewitsch [WSJ, 12 December 2014]
While he lived, the schoolmaster’s son Franz Schubert made no great splash in the world. Intimates called him Schwammerl, or Mushroom, supposedly because he was small and round. His occasional travels never took him more than 200 miles from his native Vienna. Before his death, much of his music was played only at private gatherings or not at all. Yet the catalog of symphonies, piano sonatas, chamber music and sacred works he brought forth in his brief 31 years—four years fewer than Mozart’s, 26 fewer than Beethoven’s—places him well and truly in the company of the immortals. Arguably most impressive of all is his legacy of song, inexhaustible in its Shakespearean variety, upward of 700 items, each, to the mind of Graham Johnson, “a law unto itself.”
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