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Elsewhere

Requiem pour les temps futurs: An AI requiem for a post-modern society

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.

OperaStreaming announces second season of nine new productions from the opera houses of Emilia-Romagna, free to view on YouTube

Following its successful launch in 2019, OperaStreaming streams nine operas on YouTube from the historic opera houses of Emilia-Romagna during the 2020-21 season, with fully-staged productions of Verdi's La traviata in October from Modena and Verdi'sOtello from Bologna in...

Connections Across Time: Sholto Kynoch on the 2020 Oxford Lieder Festival

‘A brief history of song’ is the subtitle of the 2020 Oxford Lieder Festival (10th-17th October), which will present an ambitious, diverse and imaginative programme of 40 performances and events.

The Sixteen: Music for Reflection, live from Kings Place

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’.

Bampton Classical Opera 2020: Gluck's The Crown at St John's Smith Square

Bampton Classical Opera returns to the Baroque splendour of London’s St John’s Smith Square on November 6 with a concert performance of Gluck’s one-act opera The Crown, the first in the UK since 1987. The performance will also be filmed and available to watch on demand on the Bampton website from 9 November.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

A new opera written during lockdown with three different endings to choose from to premiere this October as part of Wexford Festival Opera

While many of us spent lockdown at home taking it a little easier, composer Andrew Synnott wrote an opera.

Grange Park Opera presents Britten’s Owen Wingrave, filmed on location in haunted houses in Surrey and London

Owen Wingrave is part of the new Interim Season of 19 brand new events, all free to view online between September and December 2020.

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

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.

Paradise Lost: Tête-à-Tête 2020

‘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.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

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.

Music and Theatre For All launches three major new projects supported by The Arts Council

The Arts Council has awarded innovative UK charity Music and Theatre For All (MTFA) a major new grant to develop three ambitious new projects in the wake of Covid 19.

Joyce DiDonato: Met Stars Live in Concert

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.

English National Opera to reopen the London Coliseum with performances of Mozart’s Requiem

English National Opera (ENO) will reopen the London Coliseum to socially distanced audiences on 6 and 7 November for special performances of Mozart’s Requiem. These will provide audiences with an opportunity to reflect upon and to commemorate the difficulties the nation has faced during the pandemic.

‘Where All Roses Go’: Apollo5, Live from London

‘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 're-connect'

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 Royal Opera House launches autumn digital programme with a new series of Friday Premieres and screenings on Sky Arts

The Royal Opera House is proud to continue its curated #OurHouseToYourHouse programme into the autumn, bringing audiences the best of the ROH through a new series of Friday Premieres and cultural highlights.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

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.

Choral Dances: VOCES8, Live from London

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.

Royal Opera House Gala Concert

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’.


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Tacet
23 Sep 2020

Requiem pour les temps futurs: An AI requiem for a post-modern society

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.  »

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12 Feb 2005

Deborah Polaski in Vienna

Groß war das Interesse für Deborah Polaskis erste Wiener Isolde. Und rasch machte sie klar, wie sie diese Rolle versteht: als kraftvoll gesteigerte Euphorie. Da hatte sie in Peter Schneider am Pult des gut disponierten, mit fabelhaften Soli bei Streichern und Bläsern aufwartenden Staatsopernorchesters einen gleich gestimmten Partner. Denn auch er setzte auf kräftige Farben, heizte die Dynamik und die Emotion der Sänger an, ohne dabei auf die lyrischen Stellen der Partitur zu vergessen, auch wenn man diese schon feinnerviger modelliert in Erinnerung hat. Dennoch, zu einem spannenden Ganzen wollten sich die einzelnen, noch so intensiv musizierten Mosaiksteine nur schwer fügen. »

11 Feb 2005

LULLY: Les Fêtes de l'Amour et de Bacchus

Born in Florence, Jean-Baptiste Lully (1632-1687) came to France in 1646 as an Italian tutor to Louis XIV’s cousin Anne-Marie-Louise d’Orléans. Thanks to her, Lully became acquainted with French music, and got to study with several eminent musicians in Paris. In early 1653, he was asked to play several roles in the spectacular Royal Ballet of the Night. His performances caught the eye of King Louis XIV, who immediately appointed the young musician to the post of “Instrumental Music Composer.” Soon, Lully became Louis XIV’s favorite musician — he was appointed to the post of “Master of Music of the Royal Family” in 1662 — and the most important composer in France. Today, Lully is known primarily as the first major composer of French opera. (Unfortunately, he is also remembered for the way he died. In January 1687, Lully stabbed his foot with a cane that he used to beat time, and he succumbed to infections that resulted from this injury.) »

11 Feb 2005

A Critical Edition of Faust at Frankfurt

Gounod’s Faust is often billed in Germany as Margarethe. The frivolous Frenchman’s melodies should not be confused with Goethe’s masterpiece. That would be blasphemy. Frankfurt Opera, not a house given to frivolity, has chosen a new critical edition of Faust. Minus the usual cuts, plus intervals, the evening lasts four hours. Add Johannes Debus on the podium, drawing plump, earthy sounds from the orchestra, and you start to hear Gounod with an earnestly German accent. »

11 Feb 2005

Tchaikovsky's The Enchantress at the Mariinsky

A scene from the Mariinsky Theater’s production of Tchaikovsky’s opera The Enchantress. Pyotr Tchaikovsky, arguably Russia’s most popular composer, is being celebrated with a festival of his work at the Mariinsky Theater. The event, which kicks off Saturday with David Poutney’s production of “The Enchantress,” runs through Feb. 20 and features over two dozen performances of Tchaikovsky’s operas, ballets and chamber music. The Mariinsky’s artistic director, Valery Gergiev makes just one appearance during the festival, to conduct “The Enchantress” on the opening night. »

10 Feb 2005

Il primo dolce affanno… The first sweet pain

True to the intent of its series, Il Salotto, Opera Rara offers in this seventh volume a delightful sampling of art songs from the mid- to late-nineteenth-century repertory. Performing them are sopranos Elisabeth Vidal and Laura Claycomb, mezzo Manuele Custer, tenors Bruce Ford and Willliam Matteuzzi, baritone Roberto Servile, and bass Alastair Miles, accompanied on piano by David Harper. »

10 Feb 2005

St. Olaf Choir at Carnegie Hall

The singers marched on stage with near-military precision, the hem of each purple choir robe at the same distance from the ground. When they opened their mouths to sing, an even wall of sound emerged: words clear, notes true. But more than that, the notes were felt. As the music moved through the rows of singers, their bodies swayed like a field of long grass in the wind. »

10 Feb 2005

BUSNOIS: Missa O Crux lignum, Motets, Chansons

The most recent recording by England’s premier performers of Renaissance vocal music, the Orlando Consort, features a selection of works by the renowned fifteenth-century composer Antoine Busnois, works that represent the major genres of music composition of the time — mass, motet, and chanson. The performances are what we have come to expect from the fine singers of the Orlando Consort: warm, vibrant, and precise. »

10 Feb 2005

Stefanie Wüst Performs Monteverdi and Weill in Potsdam

Die bedeutenden Komponisten der Musikliteratur, Claudio Monteverdi und Kurt Weill, suchten sich als literarische „Partner“ Größen der Weltliteratur, un- ter anderen Torquato Tasso und Bertolt Brecht. Und so ist es nicht verwunderlich, dass eine sensible Behandlung der Sprache bei beiden Komponisten in ihren Musiktheaterstücken oberste Priorität hat. »

10 Feb 2005

Amanda Roocroft in Frankfurt

Es gibt Termine, die sind für einen Liederabend in der Oper Frankfurt eher ungünstig. Dazu gehört der Fastnachtsdienstag. Zwar dürften sich die Zielgruppen einigermaßen unterscheiden. Aber zartbesaitete Menschen trauen sich an den tollen Tagen kaum aus dem Haus. So war die Oper, die normalerweise mehr als tausend Personen fasst, beim Gastauftritt der britischen Sopranistin Amanda Roocroft mit Iain Burnside als Klavierbegleiter enttäuschend schwach besucht. Und möglicherweise lag es am Blick auf die vielen leer gebliebenen Plätze, dass Amanda Roocroft ihr Programm zunächst nicht übermäßig engagiert anging und ihr Potential oft mehr durchscheinen ließ als zeigte. »

10 Feb 2005

Der Rosenkavalier at Graz

Hugo von Hofmannsthal bemerkte 1921, dass der “Rosenkavalier gar nichts sei, wenn nicht ein Dokument der österreichischen Wesensart”. Dieses Diktum schien die Maxime der Grazer Neuproduktion gewesen zu sein. Marco Arturo Marelli, verantwortlich für Inszenierung, Bühne und Licht, ist überhaupt ganz offensichtlich ein genauer Kenner von Hofmannsthals Meisterlibretto. Den innersten Fasern und Nuancen des Textes folgend, gelang es ihm mittels eines riesigen, schräg über der Bühne platzierten Spiegels und einer hochsensiblen Lichtregie eine sinnlich-dichte Atmosphäre zu schaffen, eben genau jene spezifisch österreichische “Lebensluft”, um die es Hofmannsthal zeitlebens so intensiv zu tun war. »

10 Feb 2005

Don Giovanni at Toulouse Disappoints Le Monde

Une vague forme humaine étendue dans la pénombre – gisant, dormant ? C’est Leporello. A côté, le fameux livre de comptes de Don Giovanni – mille et deux conquêtes. Quelque part, la mille troisième est en train de se faire “inscrire” : Donna Elvira. La voilà d’ailleurs qui surgit, hors d’haleine, tâchant de démasquer son violeur. Entre rêve et réalité, monde intérieur et espace externe, Brigitte Jacques-Wajeman, qui signe là sa première mise en scène d’un opéra du répertoire, a choisi de confronter le désir vital à l’inconscient mortifère (les mortes eaux de décors en noir et blanc). »

10 Feb 2005

Reviving Mendelssohn's Revival

On March 11 1829 a marker was set down in musical history, when the 20-year-old Mendelssohn realised an ambition to give the first performance in “modern” times of Bach’s St Matthew Passion – a scheme dismissed by his elders as the fantasy of a couple of “snotty-nosed brats”. »

09 Feb 2005

La Clemenza di Tito — Another View

“Classy” is not a word we have come to associate with English National Opera in recent years. Populist, perhaps. Attention-seeking, certainly. But with Mozart’s late opera seria, ENO returns to the old-fashioned virtues of ensemble, intelligibility, beauty, truth. They should be obvious, shouldn’t they? But we rarely encounter them in harmony, as we do here in a production directed by David McVicar, conducted by Roland Böer and shared with the Royal Danish Opera. »

08 Feb 2005

Glass's Akhnaten in Boston

The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass’s Akhnaten last week five years to the day after the work’s Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass’s work could be had. »

08 Feb 2005

Prokofiev's The Love for Three Oranges in Toronto

When you hear a stage prince sing, “Dear orange, we’re finally alone together, just you and me,” you know you’re not listening to the usual grand-opera fare. But, then again, Opera In Concert is not about presenting the Opera America Top 10 list. »

08 Feb 2005

David Daniels in Salt Lake

Even if you have heard a countertenor sing before – and judging from intermission chatter Saturday in Libby Gardner Hall, not many people have – you’ve never heard anyone sing like David Daniels. Daniels, credited with helping revive interest in early operas as well as the countertenor voice, wowed the Libby Gardner crowd with his versatility, stage presence and genre-transcending musicianship. Mozart’s Lieder, Fauré art songs, arias by Handel and Purcell, American folk songs and contemporary music: Daniels brought something distinctive and compelling to them all. »

08 Feb 2005

Christine Schäfer Leaves Lasting Memories in New York

In the early days of the early music movement, ensembles and artists competed with one another over who knew the most about performance styles of the Baroque and Classical eras. The authenticity sweepstakes still goes on. But such insight takes you only so far. I’m sure the musicians of the renowned Freiburg Baroque Orchestra from Germany are as informed about early music performance practices as comparable ensembles. But what made their concert on Sunday afternoon at Alice Tully Hall so gratifying was the vitality and imagination of their playing – qualities that transcend any era. »

08 Feb 2005

La Clemenza di Tito at ENO

Mozart’s La Clemenza di Tito was written to celebrate the coronation of the Habsburg emperor Leopold II as king of Bohemia in 1791. The date, two years after the French Revolution, is significant. Depicting a botched attempt to assassinate the Roman Emperor Titus, and his subsequent refusal to execute the conspirators, the opera examines the implications of the idea of benevolent autocracy and draws the conclusion that enlightened government necessitates absolute solitude and emotional isolation. »

08 Feb 2005

Nina Stemme as Marguerite in Frankfurt am Main

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods “Faust” in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim. Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im “Ring”. Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt. »

07 Feb 2005

Arabella at Bayerische Staatsoper

Beste Stimmung im Nationaltheater. Und das nicht nur, weil auf der Bühne jahreszeitlich korrekt der Fasching tobte. Nein, nicht die bunten Luftschlangen und närrischen Hütchen peppten den Abend auf, sondern die Sänger. Sie heizten mit ihrem Totaleinsatz die x-te Repertoirevorstellung von Richard Strauss’ “Arabella” so an, dass das Abo-Publikum seine helle Freude hatte. Münchner Opernalltag, der im großen Jubel endete. »

07 Feb 2005

MAHLER: Songs

While a number of fine recent recordings of Mahler’s Lieder with orchestral accompaniment have been released in recent years, his songs are also of interest in the versions the composer made for voice and piano. In presenting the songs with piano accompaniment, Stephan Genz and Roger Vignoles bring out details that can become apparent only in this setting. Genz is known for his fine recordings of Lieder, include the award-winning CD of Beethoven’s Songs, as well as various recordings of Hugo Wolf’s Lieder (all on Hyperion). In this recording of Mahler’s music, he performs with Vignoles three complete sets of Lieder, that is, the cycles Lieder eines farhrenden Gesellen and Kindertotenlieder, as well as the set of Fünf Rückert-Lieder and, further, seven selections of settings from Mahler’s early publication of Lieder und Gesänge. »