Recently in Reviews
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."
Reviews
22 Feb 2018
A newly discovered song by Alma Mahler
It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.
One of those ‘lost’ songs, Einsamer Gang (Lonely Walk), has
recently been discovered and will be given its UK premiere performances by
Rozanna Madylus and Counterpoise at the Wagner 1900 conference in Oxford
(April) and at the Newbury Spring Festival (May).
Einsamer Gang
is one of three songs composed by Alma Mahler in 1899-1900 and was written
before her lessons with Alexander Zemlinsky and before her introduction to
Gustav Mahler. The other two, Leise weht ein erstes Blühn and Kennst du meine Nächte?, were published by the American scholar
Susan Filler in 2000, but Einsamer Gang was tracked down by
Deborah Calland and Barry Millington in the Kislak Center for Special
Collections, Rare Books and Manuscripts, at the University of Pennsylvania.
They have made a performing edition of the song for these concerts and plan
to publish it in The Wagner Journal later in the year
Rozanna Madylus and John Tomlinson in The Art of Love. Photo credit: Tony Nandi.
Einsamer Gang
, a touchingly evocative and personal setting of a poem by Leo Greiner,
expressive of Alma’s almost suicidal loneliness and depression at this
period, will form part of the sequence The Art of Love: Alma Mahler’s Life and Music, which features also
music by Gustav Mahler, Zemlinsky and Wagner. In the second part of these
concerts, Counterpoise will perform Kokoschka’s Doll with Sir John
Tomlinson, for whom it was written last year by John Casken. The painter
Oskar Kokoschka had a brief but tempestuous love-affair with Alma Mahler,
following which he commissioned a life-size doll of her which he took to
parties and other public events. The text of this new work describes the
events as seen through the eyes of Kokoschka as an older man, evoking the
passions unleashed by the affair, against the background of the physical
and psychological traumas suffered by Kokoschka in the First World War. The
score weaves the texts into a musical fabric that references fin-de-siècle
Vienna (including the music of Wagner and Alma Mahler) while being of our
own time.
Kokoschka’s Doll and The Art of Love
, incorporating Einsamer Gang, will be performed at:
Holywell Music Room, Oxford, Tuesday 10 April, 8.30pm
Corn Exchange, Newbury, Wednesday 16 May, 7.30pm
The press on last year’s performances of
Kokoschka’s Doll : ‘Tomlinson’s titanic, heart-rending performance’ (Daily
Telegraph
), ‘the incomparable John Tomlinson’, ‘a compelling dramatic presence’
(
Guardian), ‘magnificent’ (Opera), ‘riveting’ (Seen and
Heard International)
For further information see:
www.counterpoise.org.uk/projects.php;
www.music.ox.ac.uk/wagner-190;
www.newburyspringfestival.org.uk