English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
The exhibition takes place in the third year of a collaboration between
Glyndebourne and White Cube, and is housed in a state-of-the-art gallery
in the Glyndebourne gardens. It will be open to audiences throughout the
Festival which runs from 20 May to 27 August 2017.
Furthermore, an exhibition by Rachel Kneebone including her largest and
most ambitious single installation, 399 Days, can be seen at the
Victoria and Albert Museum from 1 April 2017 until early 2018.
Rachel Kneebone
‘399 Days’
(2012-13), Porcelain and mild steel (540 x 287 x 283 cm). © Rachel Kneebone. Photo © White Cube (Jack Hems).
Rachel Kneebone’s intricate porcelain sculptures address and question the
human condition: taking themes of renewal, transformation, the life cycle
and the experience of inhabiting the body.
Gus Christie, Executive Chairman of Glyndebourne, said: ‘A visit to
Glyndebourne has always been about more than opera, and in recent years
the experience has been further enhanced by exhibitions from some wonderful
artists on the White Cube roster. This year we’re delighted to be
exhibiting sculpture by Rachel Kneebone and I look forward to seeing the
pieces she has created.’
The 2017 Glyndebourne Festival opens with the UK’s first-ever production of Hipermestra, a rarely-performed work by the influential baroque
composer Francesco Cavalli. The team behind the production are director
Graham Vick and William Christie, a pioneer in the rediscovery of baroque
music who will conduct the Orchestra of the Age of Enlightenment.
Other Festival highlights include the world premiere of a brand new opera
based on Shakespeare’s Hamlet, the work of Australian composer
Brett Dean and Canadian librettist Matthew Jocelyn. The cast of outstanding
singers includes Allan Clayton, Barbara Hannigan and John Tomlinson.
The third new production of the season is Mozart’s La clemenza di Tito directed by Claus Guth and conducted by
Glyndebourne's Music Director Robin Ticciati.
The season is completed with revivals of Verdi’s La traviata,
Donizetti’s Don Pasquale and Strauss’s Ariadne auf Naxos.
La Traviata (2014). Photo credit: Richard Hubert Smith.
The Festival can once again be accessed on stage, on screen and online as
part of Glyndebourne’s efforts to make its operas available to broad
audiences. Three Festival productions will be screened in cinemas UK-wide
and broadcast for free online in partnership with Telegraph Media Group.
Public booking for Glyndebourne Festival 2017 opens online at 6.00pm on
Sunday 5 March. Tickets from £10. Visit glyndebourne.com.
Glyndebourne Festival 2017 runs from 20 May - 27 August 2017. View the trailer.