Recent CD Review

My review of a live recording of Don Giovanni from the Met. is here, on Music Web International.
Historical curiosity only ...

1001 and counting

The previous post was my 1000th. Amazing!

Gleanings from this month's Opera magazine

The interview is with Patricia Bardon, who is singing Maurya in the new ENO Riders to the Sea, something I'm looking forward to immensely. Evidently as a child she wanted to be Tina Turner or Aretha Franklin. She is someone who you associate with Handel, but evidently she waited 10 years before her first major Handel role. The interview was done before the ENO Partenope, but she talks about a previous production which was played for laughs and wonder's whether the work is a comedy. Quite. Interestingly she's performing it again in a production by Pierre Audi, now that won't be comedy! Apart from Handel I still remember her striking performance in Bizet's Djamileh.

The previous issue's article about musical criticism and current standards seems to have created quite a heated correspondence. It is an interesting point about what qualifies a critic to be a critic; I suppose my view would be that it takes someone who has ears to listen and who can write comprehensibly about what they've heard - something that is not always as easy as it sounds.

Some interesting comments about the initial critical reception of Donizetti's Parisina d'Este. Evidently the critics found it noisy and shouted, comments that today seem quite unbelievable. It makes you realise that earlier critical views are always so difficult to assess and to place in context.

Scottish Opera's 15 minutes operas are back next year. Maybe this time I'll get to hear some of them.

Evidently Opus Arte have recorded Jonathan Dove's Pinnochio, I can't wait.

Obits for Peter Glossop, a singer whom I never got to hear live alas, but I still treasure his recording of Verdi's Macbeth in concert with Rita Hunter, doing the original version.

I Masnadieri in Australia - evidently the critic Chorley, after hearing the opera in 1845 in London he described it as the worst opera Verdi ever wrote! Still in Australia, a new Orlando had a theme running through it, sheep! It was also so cut that it lasted under 3 hours.

Over in Austria they performed Karl V by Karl Krenek, as it is 12 tone its rather a different style to his Johnny spielt auf.

Over in Brazil, Ariadne auf Naxos was staged for the first time since the 1980's, with Zerbinetta and her ensemble as a rock group.

And in Paris they did the 4 Act Italian version of Don Carlo, is nothing sacred.

And in Berlin Il Turco in Italia appeared set in Fellini's film era, sound familiar. ENO did a similar thing some years ago, and it didn't work then.

Mozart's Idomeneo in the tiny Cuvillies Theatre in Munich. Hugh Canning raises the problem of doing Idamante as a tenor; having too many tenors in the cast. You wonder what Mozart might have made of the opera had he lived. Still it did have John Mark Ainsley as Idomeneo.

In Venice, Death in Venice made an appearance, 35 years after it was first performed there in 1973. Evidently this was a production which takes the erotic relationship between Aschenbach and Tadzio seriously.

At Fort Worth, Of Mice and Men opened in a new production, with the 89 year old Carlisle Floyd in attendance. They also performed Angels in America, Peter Eotvos's operatic version. The reviewer comments, quite rightly, the problems of trying to boil a 7 hour play down to an opera lasting less than 3 hours. You wonder why people try in the first place.

Is it me, or does the best bit of the new operatic version of David Cronenberg's The Fly seem to be the pictures of a naked Seth Brundle. And in San Francisco the imported production of Handel's Ariodante was so bad the review says it makes a good case for opera in concert! More cuts in the Santa Fe Radamisto, which ran for under 3 hours. Still the designs looked fab.

Finally, in We hear that...
Mary Plazas is doing Lucrezia Borgia in Buxton.
Covent Garden are doing a new production of Tchaikovsky's Cherevichki next year.
Nina Stemme is doing Isolde at Covent Garden in 2009-10, I hope they are doing a new production for her!

Schnittke Choir Concerto performance

On Saturday 15th November, London Concord Singers are performing Schnittke's Choir Concerto at the church of St. Alban the Martyr, Holborn, London. The concert begins at 7.30pm and also includes 6 movements from Tchaikovsky's Liturgy of St. John Chrysostom. If you are around, do come, you'll get to hear one of the choral masterworks of the 20th century and also hear yours truly singing, as I'm a member of the choir. The work divides the choir into 16 parts and at the end goes into 26 parts, so we'll be singing with a few extra singers than usual.

Interestingly both works in the concert date from times of stress in their respective composers lives. Tchaikovsky wrote the Liturgy around the time of his abortive marriage; a time which was very productive musically for him. Schnittke had a heart attack during the composition of the concerto and was pronounced clinically dead.

Premiere of Gabriel Jackson's Requiem

My review of the Vasari Singers concert, which included the premiere of Gabriel Jackson's Requiem, is here, on Music and Vision.

A few months ago I reviewed a CD of Finzi's music with James Gilchrist as the tenor soloist. Gilchrist's voice sounded alarmingly stressed at the top, so much so that I did wonder about his vocal health. But shortly afterwards we heard him live and he sounded his usual mellifluous self. Gilchrist was the soloist on Sunday on the Radio 3 programme about RVW's On Wenlock Edge. Again Gilchrist's voice sounded stressed. I can only put this down to a tendency for recording engineers to place the microphones too close, so that his voice does not have time to settle.

This is a problem which can occur most frequently with big voices. Many years ago Jane Eaglen, in interview, said that at that time she was happy with only one of her recordings, the Chandos Tosca. She explained how big voices were difficult to record and this was born out by her Chandos Aida and Turandot, where the Turandot was superb but the Aida gave her a significant beat in her voice.

We have recently acquired the new Halle Dream of Gerontius, here is its Bryn Terfel's voice which causes concern. Though he is admirably firm of tone and with superb diction, the recording captures an exceptional beat in the voice. I suspect that if you heard him live, this would not be a problem as the voice would have had time to settle in the distance between him and you in the concert hall. Obviously the decision taken on the recording was that immediacy was more important than avoiding the beat in Terfel's voice.

Perhaps it is me, perhaps I'm a little to allergic to excessive beat in voices. But I am becoming increasingly aware that our recorded experience can entirely fail to reflect the reality.

Gabriel Jackson Requiem

Tonight we are off to St. Martin in the Fields (now beautifully restored) to hear the Vasari Singers, conductor Jeremy Backhouse, perform Gabriel Jackson's new Requiem, a 30 minute unaccompanied setting of the Latin text interleaved with other poetry. I have sung in a number of Jackson's smaller pieces and was on the judging panel the year he won the Liturgical category of the British Composer Awards. I very much look forward to hearing one of his larger scale choral pieces.

St. Cecilia's Day

If you feel like celebrating St. Cecilia's Day this year then wander along to St. John's Smith Square, where La Nuova Musica are presenting a programme which includes Purcell's 1683 St. Cecilia's Day Ode Welcome all the Pleasures. Along side this they present the 1684 Ode by Purcell's teacher, John Blow, Begin the Song. Blow is currently still a little under appreciated I think. Not only did he teach Purcell, but they were friends and Blow replaced Purcell at Westminster Abbey on Purcell's sudden death. Blow's one act opera Venus and Adonis (written in 1685) was an important precursor to and influence on Dido and Aeneas

Also featured in La Nuova Musica's programme is Handel's Gloria and Laudate Pueri with the ever wonderful soprano of Lucy Crowe.

Recent CD Review

My review of the recital of songs by Argentinian composers Carlos Guastavino is here, on MusicWeb International.
A lovely recital ...

Les Arts Florissants at the Barbican

For their latest visit to the Barbican, William Christie and Les Arts Florissants gave us 3 acts from Rameau's comedie ballet Les Indes Galantes.

This was Rameau's 2nd major operatic work, coming just after the tragedie lyrique Hippolyte et Aricie. The new work was a vastly different style, lighter with more emphasis on dance and with a different plot for each act. One of the features of the genre was that each act was separate. Rameau expanded and revised the work over the years so that at its first showing there were fewer acts than now. So Christie's decision to present just 3 acts made perfect sense. Without dancers, sets or costumes, the work could never have quite the same impact. Though the women's dresses were all designed by Christian Lacroix, which added a strong element of style to the proceedings.

The young cast were a wide variety of nationalities with only Stephane Degout being a native French speaker. Though their diction was excellent, Degout's was noticeably more idiomatic than the rest. Ed Lyons started off sounding a little too English but by his 2nd appearance in the final act, he was far more convincing.

We were presented with the acts set in Turkey, Peru and America; each dealt with a love triangle in some way and love always triumphed. Though the large cast (6 singers) were spread across the 3 acts, the show was something of a showcase for Portugese bass Joao Fernandes who was the only singer to appear in all 3 acts.

Musically the evening was triumph with all the singers displaying a good feeling for Rameau's style. We also had some lovely voices and some fine musicality. Sometimes with shows by Les Arts Florissants you get the feeling that with the voices, style triumphs over substance and voice quality, but not here. I felt sorry not to hear more of Spanish tenor Juan Sancho who only appeared in the Peruvian act. Similarly mezzo Juliette Glastian impressed in the Turkish act; but Sony Yoncheva was able to display her winning personality and pert stage manner in both the Turkish and American acts.

The singers performed off the book, moved around and generally 'acted' their roles. No producer was credited. I felt that a slightly stronger hand was needed on the directorial side. Some singers, like Stephane Degout, rightly felt that less was more and he impressed with his stage performance. But Fernandes did rather over-do the dramatics some times and rather needed reining in; this was particularly true in the American act where Rameau's characterisation verges on cariacature; Fernandes came dangerously close to giving a Mr. Bean impression ('Mr. Bean goes to the Opera' perhaps?).

The chorus started out placed behind the orchestra but they too sang without scores and moved about, making entrances and exists. This was inevitably a little distracting, but did add to the general aura of it being a real dramatic event. The only miscalculation was in having them sing from the front of the stage, placed either side of the orchestra. Communication seemed less than perfect and there were occasional moments when the two wings of the chorus got a little out of synch.

Naturally, musician ship was perfect and in the best possible taste. This was a lovely evening of Rameau, beautifully performed and thoughtfully presented.

RVW Symphonies on the SouthBank

On Sunday the Philharmonia Orchestra, under Richard Hickox, did a 3-part programme at the Royal Festival Hall, performing 3 Vaughan Williams Symphonies. It was the penultimate offering in their RVW series this year, the final one is tomorrow (6th November). On Sunday we got the Tallis Fantasia and Symphony no. 9 in the first part, the 3 Shakespeare Songs sung by Philharmonia Voices and Symphony No. 6 in part 2 and then the concert concluded with Symphony No. 5. The subtitle of the concert was Vaughan Williams the Visionary.

By offering the Tallis Fantasia and the 9th Symphony, as in the BBC Symphony Orchestra concert at the Proms this year, we heard what was essentially the first and last of RVW. Hearing it in the improved Festival Hall was a treat, rather than the vast spaces of the Albert Hall. Whilst these spaces can be effective, having the Tallis Fantasia close up, especially with the luxurious string sound of the Philharmonia, was a real treat. In the 9th Symphony the saxophones seemed to be play with slightly less vibrato than their BBC colleagues, which was a great improvement. Hickox has developed into a fine RVW conductor and his account of the visionary 9th was engrossing.

When asked about the final movement of the 6th Symphony, RVW quoted Prospero 'We are such stuff as dreams are made of' so it seemed entirely appropriate to pre-fix the symphony with the Shakespeare songs, perfectly sung by Philharmonia Voices (interestingly with 3 counter-tenors and 1 mezzo-soprano on the alto line). The symphony itself was perhaps not quite as engrossing as No. 9, but still a fine performance. As usual with the final movement, I felt that everything could have been even quieter, though the orchestra showed fine control. Hickox's reading made the movement seem a little warmer than usual; more Prospero's dreams than a vision of the cold war about to engulf Europe.

Then finally the 5th symphony, always a moving piece with its echoes of The Pilgrims Progress. There were a couple of moments when I did wonder whether the players were getting a little tired (the concert had around 150 minutes of music in it). But as ever, the 5th Symphony with its glorious cor anglais solo worked its magic.

Review of Mathilde de Shabran

My review of Covent Garden's new production of Rossini's Mathilde de Shabran is here, on Music and Vision.

Recent CD Reviews

My review of the first volume of Weinberg's songs from Toccata is here.
Should win many converts for an alternative view of Soviet modernism ...

And my review of Vivaldi's Gloria and Bach's Magnificat from the Academy of St. Martin in the Field is here. Both reviews are on MusicWeb International.
Stylish and done with clarity and great warmth ...

Not quite famous

The first bit of the new CD to be broadcast; it seems that my string orchestra version of Faith, Hope and Charity made it onto Radio 3, on the Sunday requests programme a couple of weeks ago. And I missed it! Here's hoping its not the last.

Review of Partenope

My review of ENO's production of Handel's Partenope is here, on Music and Vision.

Bigger and better?

It is all change on the promotion of new music scene in London as the BMIC (British Music Information Centre), Contemporary Music Network, SPNM (Society for the Promotion of New Music) and Sonic Arts Network are merging into a single entity - SAM (Sound and Music).

The impetus for the change seems to have come, partly, from the creation of the new Kings Place concert hall complex in the Kings Cross area. The possibility of a close collaboration there was raised (this has since been diluted to a weekly evening curated by SPNM). This let to the organisations deciding to come together as a single entity.

Obviously the idea is that bigger is better. The BMIC promotes information about British Music and has a stable of young composers whose work it makes available. SPNM does something a little similar, by creating events which promote new music and providing opportunities for composers. One of the SPNM's notable annual events it the call for scores where anyone can send scores in with the possibility of them being accepted for performance in the next year's programme. The SPNM has a rotating artistic director rather than a single person for a long period. Contemporary Music Network and Sonic Arts Network are more performance let, concert promotion organisations.

In the current climate, where the arts are not always appreciated as they should be in official government circles, creating an organisation with a larger footprint is probably a good idea. The drawback, from my point of view, is a worry that bigger is not necessarily better, that the personal nature of some of these organisations will disappear. We can only wish them well, and hope.

Recent CD Review

My review of Kathleen Ferrier in Gluck's Orfeo ed Euridice is here, on MusicWeb International.
Ferrier brings real passion, classical purity and strength of line ...