There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.
An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with AndrË Schuen and Daniel Heide for Avi-music.de.
At the Wigmore Hall, AndrË Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and R¸ckert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.
It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).
It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.
Une soirÈe chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with StÈphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).
I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.
Thanks to the enterprise and vision of Lynton Atkinson – Artistic Director of Dorset-based Hurn Court Opera – two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.
An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.
This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.