Category: Performances

Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.

It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work – he did, after all, study with him between 1984 to 1988.

This death in Venice is not the end, but the beginning.

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.

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 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.

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.