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Elsewhere

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

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).


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Tudor 7198 [CD]
18 Oct 2017

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding. »

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20 Apr 2005

Gounod's Faust at the Met — A Preview

Tomorrow night, the Metropolitan Opera unveils a new production of Charles Gounod’s “Faust,” its sixth. The musical expectations are high. James Levine, the Met’s music director, is conducting the opera for the first time, leading an international A-list cast: the French-Sicilian tenor Roberto Alagna as Faust, one of his signature roles; the Finnish soprano Soile Isokoski as Marguerite, the innocent he seduces and abandons; the German bass René Pape as Méphistophelès, an eagerly anticipated role debut; and the Russian baritone Dmitri Hvorostovsky as the soldier Valentin, Marguerite’s brother. »

20 Apr 2005

Menotti's The Consul in Arizona

Even though no sensation-hungry opera director has tampered with Gian Carlo Menotti’s The Consul to “update” the work in today’s all-too-common effort to make opera “relevant” to modern audiences, this half-century-old opera has not lost one iota of such relevancy. »

19 Apr 2005

Sir Thomas Allen: Great Operatic Arias

Some 20 years ago I ended my subscription to Opera Magazine after an article by its editor, the late Harold Rosenthal. He had written a review of La Clemenza di Tito that described tenor Stuart Burrows in words that, for those who did not attend the performance, they had missed the second coming of Enrico Caruso, Jussi Björling and Beniamino Gigli in one person. I had attended and I knew that Rosenthal and his colleagues could be almost funny in their chauvinism but enough was enough. Well, I’m happy to report the old tradition still lives on. I looked at some reviews of this recital by British critics and Giuseppe De Luca, Tito Gobbi and Robert Merrill in their heydays would have been proud of such notices. »

19 Apr 2005

The Cambridge Companion to the Lied

Books described as a "Companion" to this or that and published by university presses should be required to come with a Reader Beware label. As is the case with many books put out by university and many for-profit publishers, the main reason for publishing these is to advance the tenure and promotion prospects of the authors. This is not a bad thing, except that all too often the books aren't very good. »

18 Apr 2005

Muti in New York

Riccardo Muti, the Italian conductor, has been much in the news lately, having quit La Scala – that is an interesting story. But that is not today’s story: Mr. Muti was in New York last week, for a subscription series with the Philharmonic. On his program were two seldom-heard works, the first more seldom heard than the second: Goffredo Petrassi’s “Coro di morti” (“Chorus of Dead Ones”) and Liszt’s “Faust Symphony.” Saturday’s was a concert of the highest order. »

18 Apr 2005

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer

For whom is this fine CD? It is published by Hänssler Verlag; a publishing house that specializes in Christian literature and that has a classical record branch as well. »

18 Apr 2005

Anna in Köln

KÖLN. Als Anna Netrebko ihre Stimme zum silbernen Mond hob wie Rusalka in der gleichnamigen Märchenoper Antonín Dvoráks, tönten die ersten Bravi der 8000 Gäste in der Großoper Kölnarena. Annas Aufstieg ist märchenhaft verlaufen; von Kälte, dem Problem der Nixe Rusalka, war in der gut geheizten und besuchten Halle keine Spur, und einen Prinzen musste sie nicht verführen, sie hat ihn einfach angerufen. José Cura, der gut aussehende und zudem stimmgewaltige Tenor aus Argentinien, war der Einladung gern gefolgt. »

17 Apr 2005

Nabucco at Opera Australia

Despite Nabucco’s rudimentary plot and underdevelopment of its subsidiary characters, its dignity is maintained through its music, which, although still primitive by Verdian standards, already shows signs of the greatness to come. »

17 Apr 2005

Michelle DeYoung in Chicago

Michelle DeYoung, to seriously understate the fact, looked radiant. The first of three performances as Sieglinde and Waltraute in Lyric Opera of Chicago’s hugely successful production of Wagner’s “The Ring of the Nibelung” was behind her, and the American mezzo-soprano seemed to be counting the minutes until she would be back on the Civic Opera House stage making passionate love to Placido Domingo, Siegmund to her Sieglinde in this production. Her cloud of long, crisply crinkled blond hair caught the light like an angel’s aureole as she settled into a conference room backstage at Lyric. She was revved up to talk about her transformation from a Colorado-reared, conservative Christian teenager whose chosen life goal was to marry and have lots of children into an opera singer in demand across the United States and Europe. »

17 Apr 2005

La Vie parisienne at Théâtre Silvia-Monfort

Fondé en 1985 par Olivier Desbordes, Opéra Eclaté Midi-Pyrénées est bien connu des amateurs d’art lyrique qui fréquentent, au mois d’août, le festival de Saint-Céré (Lot). Cette compagnie nationale de théâtre musical, fixée depuis 1996 à Tarbes (Hautes-Pyrénées), trouve toutefois sa raison d’être dans une décentralisation qui s’est traduite pendant vingt ans par plus de 900 représentations données en France et à l’étranger. »

16 Apr 2005

García's L'isola disabitata at Wake Forest University

The second of two performances of Manuel García’s L’isola disabitata (The Uninhabited Island) in WFU’s Brendle Recital Hall on April 8 was a happy marriage of musicological scholarship and practical vocal pedagogy. I am familiar with Teresa Radomski’s work as an opera and oratorio soloist; the focus of her scholarship – the careful transcription of manuscripts and the creation of a performing edition of a salon opera by García – was fascinating. Her splendid program notes place the work in its historical context and recount aspects of her research. She transcribed the score from a complex original manuscript in the Bibliothèque Nationale (Paris) while on research leave. With her brother, musicologist James Radomski, she completed a critical edition of the opera which is being published by A-R Editions, Inc. »

15 Apr 2005

Lotte Lehmann: “Frauenliebe und Leben” — Works by Schumann, Brahms, Schubert and Sacred Songs

Of all the singing geniuses of the 20th century, Lotte Lehmann is among the forefront. Though not blessed with the most beautiful voice or impressive technique, Lehmann knew how to reach her audience through unmatched musical interpretation and expression. She was able to win the love of her audience, and now, almost a century from the start of her career, the world continues to sing her praises. »

15 Apr 2005

Ariodante in Vienna

Am 8. Jänner 1734 wurde erstmals eine Oper von Georg Friedrich Händel am Royal Opera House in Covent Garden gespielt. “Ariodante” hieß sie – und wurde ein voller Publikumserfolg. Bald darauf fiel das Werk in einen 200-jährigen Dornröschenschlaf. Erst ab 1927 erlebte es eine Renaissance, wurde in Stuttgart gespielt, an der Berliner Staatsoper, beim Salzburger Pfingstfestival. In Wien war die opera seria, die auf demselben Stoff beruht wie Shakespeares “Viel Lärm um nichts” (auf “Orlando furioso” von Ariosto), noch nie zu sehen. »

15 Apr 2005

DUNSBY: Making Words Sing: Nineteenth- and Twentieth-Century Song

In Making Words Sing, Jonathan Dunsby investigates what he calls the "vocality" of song, that is, the "quality of having voice," as the author states in the introduction to his study. By using this perspective, Dunsby focuses on the intensification of the text that occurs when words are set to music, which stands in opposition to the kind of "songfulness" that Lawrence Kramer discussed in Musical Meaning: Toward a Critical History (Berkeley, CA: University of California Press, 2002). »

15 Apr 2005

English Choral Music

One has to wonder if the number of recordings of English choirs singing English choral music will ever reach a saturation point. This Naxos double disc by the Choir of St. Johns College, Cambridge, may very well signify such a moment through its attempt to chronicle the succession of English choral music from the 19th century to the present. The choir of men and boys sings gloriously, nearly equaling their more famous sister choir at King’s College, yet the musical montage is rather unusual. »

14 Apr 2005

Tristan at Paris

PARIS, April 13 – Huge, dense, taxing, with almost all the action taking place in the heart, Wagner’s “Tristan und Isolde” is notoriously difficult to stage. Indeed, the composer himself abandoned his first attempt in Vienna in the early 1860’s after no fewer than 77 rehearsals. Now, in a daring experiment, the Paris National Opera has invited the American video artist Bill Viola to accompany the work with his own visual commentary. »

14 Apr 2005

Masked Ball at Covent Garden

The aesthetics of this new staging have been determined by a co-production deal with Madrid and Houston, rather than by any wish to explore Verdi in a modern context. Like La forza del destino earlier this season, it is an old-fashioned singers’ show – safe, bankable, peppered with big-house spectacle but oblivious to the characters’ psychology and Verdi’s elegantly crafted dramatic situations. The onus for making those situations come alive once again falls on Antonio Pappano. »

13 Apr 2005

WAGNER: Tristan und Isolde

After playing a few tracks I was reminded of the late Harold Rosenthal’s review of a 1973 Callas and Di Stefano-concert in his own Opera Magazine: “This is one of the saddest reviews I ever had to write.” »

13 Apr 2005

RANDALL & DAVIS: Puccini & the Girl

"Puccini & the Girl" is a rare and engrossing work of scholarship that can be enjoyed on several levels. For the Puccini-lover, to say nothing of one who has a special interest in La Fanciulla del West, it will provide a wealth of information not previously available, particularly all in one place. Any one interested in the creative process will find it exposed and examined clearly. The scholar will recognize the fascinating chance discovery, the thrill of the chase and the deep rewards of work undertaken lovingly and with rigorous care by the dedicated and passionate co-authors. »

13 Apr 2005

HANDEL: Athalia

I have long been accustomed to the grumblings of my German and Italian colleagues concerning the pronunciation and expression of musical works in their native languages by English-native singers and choirs. I had chalked it up to benevolent xenophobia, but this beautiful recording gives me new insight into their perspective. »

11 Apr 2005

Faust at Linz

Kam da doch glatt ein Franzose (ausgerechnet!) und stellte 1859 nonchalant das deutsche Literatur-Nationalheiligtum vom Kopf auf die Füße! Sprich: Ignorierte Goethes Motto “Wer vieles bringt, wird manchem etwas bringen” und nahm des Dichterfürsten Ideendrama als Text-Steinbruch einer amour fou. Bei den deutschen Kritikern fiel das Stück durch, das Publikum hingegen war begeistert, bekam es doch genau das zu sehen, wonach es in einer Oper dürstet. »

11 Apr 2005

Pearl Fishers at NYCO

The new “Pearl Fishers” that arrived at New York City Opera on Sunday afternoon came from the San Diego Opera, but it looks as if it came from the opening ceremony of the Olympic Games. Maybe it was the fluorescent hues; or the attempt to create local color with tinselly choreography; or the stylized patterns painted on the stage, like sun on sand, and the women’s bikinis, which evoked the flavor of a recent addition to the Games, beach volleyball. »

11 Apr 2005

Olga Borodina in New York

My last encounter with Olga Borodina as a songstress was a particularly memorable one, and I daresay it was for her as well. In May 2001 she postponed a Carnegie Hall recital literally at the last minute, a hastily scrawled piece of paper taped over the poster out front our only greeting. Ms. Borodina was suffering from allergies and gamely attempted to forge ahead a week later with James Levine at the piano. The afternoon was challenging, but the half-empty hall was populated by a dedicated group that admired her courage. »