The Ensemble Studio do Mozart, Bellini and Handel

Last night saw the Ensemble Studio’s big main stage performance.  Rather than perform one of the COC’s current productions (hard to imagine how they could cast one from the current line up) we got scenes from three operas; two of them from the COC’s current season.  They were performed with the orchestra on stage in front of the backdrop to the opening scene from the current Die Zauberflöte and in concert dress rather than costume (more or less, there were some nods to the roles in question) and with some blocking as far as limiting movement to the front of the stage permitted.

ensemble-bs-9972

Continue reading

Since Then…

Yesterday at noon Ileana Montalbetti, currently appearing in the COC’s Götterdämmerung and pianist Rachel Andrist gave a recital in the RBA.  It was five years to the day since they last performed together in that space.  Then she was a promising young singer, now she comes over as a considerable interpretative artist.  The voice is even bigger (and for a piano recital in the small and not very friendly to dramatic sopranos RBA(*) that was a bit of a challenge) but what’s notable is how much more drama and meaning there is in each number.

Continue reading

Three Worlds

threeworldsIn some ways listening to ballet music without the visuals is even weirder than listening to opera without them but at least it’s easier to rearrange and abridge ballet music for concert purposes.  That’s the case with Max Richter’s Three Worlds: Music from Woolf Works which is his condensation of Woolf Works which he wrote for Wayne McGregor and the Royal Ballet.  As the name suggests it’s inspired by the works of Virginia Woolf and has three movements based on three of the novels; Mrs. Dalloway, Orlando and The Waves.

Continue reading

Moors and Christians

Schubert could write great melodies and he had a real affinity for the voice so one might expect him to have been successful when he turned his hand to opera.  He wasn’t with Fierrabras which wasn’t performed until decades after his death and has been revived seldom since, most recently at Salzburg in 2014 where it was recorded. It’s easy to see why.  The libretto is awful and even if the music were really amazing, which it isn’t but more of that later, I doubt it would have made much impact.

1-knickets

Continue reading

Next week and beyond

ileana-montalbetti-headshot-bohuang500pxThursday seems to be the big day next week.  Ileana Montalbetti and Rachel Andrist have a lunchtime recital in the RBA.  There’s Strauss and Mozart and Beethoven and more.  Ileana has been a really impressive Gutrune in Götterdämmerung so I’m excited to see her in recital.  That evening there’s a choice of the annual COC Ensemble Studio performance at the Four Seasons Centre where the Ensemble members will be offering staged scenes, with full orchestra, from Mozart’s La finta giardiniera, Bellini’s Norma and Handel’s Ariodante.  The alternative is Tapestry Songbook VII featuring Krisztina Szabó, Keith Klassen and Stephen Philcox performing numbers from Tapestry’s extensive back catalogue.  That’s at the Ernest Balmer Studio at 7.30pm.  There are repeat shows on Friday at 7.30pm and 10pm.  Looks like both 7.30pm shows are sold out but late night Friday is still available.  Operaramblings’ extensive spy network (not Louise Mensch) suggests that patrons may also learn something to their advantage.  The day before, Wednesday at 7.30pm, there’s a Don Giovanni in concert at Royal St. George’s Chapel. Actually seeing as how dancer Bill Coleman is involved it may not be entirely straight “in concert”.  The cast includes Alexander Dobson in the title role, Katherine Whyte, Colin Ainsworth, Taiya Kasahara, Vania Chan and Matthew Li plus a “special guest”.  Tickets at www.opera-is.com or on the door.  There is still time to catch the COC’s winter offerings.  The Magic Flute plays today, tomorrow and Friday with the last Götterdämmerung next Saturday.  That last seems to be sold out but the usual rush and standing room deals may apply.

Continue reading

Azaleas, Roses and Lilacs

Elena Tsallagova and Sandra Horst entertained the crowd in the RBA yesterday with a flower themed recital of French and Russian songs.  It was a very well chosen selection that allowed Ms. Tsallagova to display her versatility.  From Debussy’s quite operatic Rondel chinois, where she showed a lot of power for a young lyric soprano, through the varied moods of Bizet’s Feuilles d’album where by turns she was dramatic, sombre and very playful.  Throughout she was extremely demonstrative while managing excellent phrasing and impeccable French.  She has an interesting range of colours too, from extremely bright through to quite covered and dark and she’s not afraid to use them.  Actually, the way she threw herself into the material I don’t think she is afraid of much!

february16_rba5

Continue reading

Met HD line up for 2017/18

I missed this when I wrote up the Met season this morning but the HD cinema season has been announced too.  The line up includes all four new productions but also repeats of La Bohème and L’elisir d’amore.  Outside of the new stuff there’s nothing exciting but then that’s pretty much the story on stage too.  Here’s the line up.

October 7th 2017 – Bellini – Norma

It’s the new McVicar production which sounds utterly traditional though no doubt we’ll get an over sized axe and a few human sacrifices.  This is one of the shows where both Sondra Radvanovsky and Joyce DiDonato appear which would seem to be the main attraction.  Carlo Rizzi conducts.

649x486_norma_introduction

The new Norma

Continue reading

On stage at the Met 2017/18

The Metropolitan Opera has announced its 2017/18 season.  It’s quite heavy on warhorses.  La Bohème, Tosca and Turandot each get fifteen performances and there’s plenty more standard fare in there.  Once again, there’s nothing pre Mozart and the only nods to modernity are a revival of Elektra (six shows) and a new production of Thomas Adès’ The Exterminating Angel (eight shows).

angel

The Exterminating Angel at the Salzburg Festival.  Photo: Monika Rittershaus

Continue reading

La fuga in maschera

I find it interesting the way some opera composers become canonical to the point where their most unsuccessful (often deservedly so) works still get produced while others, equally famous in their day, disappear pretty much entirely.  One of the latter group is Gaspare Spontini who had a long career stretching from the the late 18th into the middle of the 19th centuries during which he was active in Italy, Paris, Vienna and Germany.  There was a revival of his La Vestale at La Scala with Visconti directing and Callas in the title role but otherwise the 20th century pretty much ignored him.  So obscure had he become that the Wikipedia entry for his operas describes his La fuga in maschera as “genre unknown”.  Perhaps that’s not so surprising as the work was last performed in 1800 and the score was thought to be lost until it turned up in an English bookshop in 2007.  Subsequently it was performed in 2012 at the Teatro GB Pergolesi in Jesi as part of the Festival Pergolesi Spontini.

1-portrait

Continue reading

Valentine’s Haji

Today’s noon recitalists in the RBA were Andrew Haji and Liz Upchurch.  We had been promised Britten’s Serenade but an absence of non-knackered horn players due to the COC’s Götterdämmerung run scuppered that and instead we got a very varied program of songs and arias on the theme of love and its travails.  Four Brahms songs kicked things off and produced some very fine lieder singing.  Beautiful throughout with fine phrasing, characterisation and diction there was more.  The final “wonnewoll” of Wie bist du, meine Königin was a thing of floaty beauty and there was a real sense of ecstasy in Mein Liebe ist grün.

SONY DSC

Continue reading