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Above: Marjana Lipovsek as Cornelia and Ann Murray as Sesto
A performance of Handel's GIULIO CESARE at the Vienna State Opera in 1985
Watch and listen here.
CAST:
Caesar - Benjamin Luxon; Cleopatra - Roberta Alexander; Cornelia - Marjana Lipovsek; Sesto - Ann Murray; Curio - Rudolf Katzböck; Tolomeo - Roderick Kennedy; Achilla - Thomas Hampson; Nireno - Anton Scharinger
Conductor: Nicolas Harnoncourt
The Italian contralto Sonia Prina (above) sings Nicola Porpora's Salve Regina with Accademia Bizantina.
Listen here.
A performance of Claudio Monteverdi's Laudate Dominum with soprano Sherezade Panthaki (above) and members of Voices of Music: Elisabeth Reed (viola da gamba), Hanneke van Proosdij (Baroque organ) and David Tayler (archlute).
Watch and listen here.
Marina Rebeka and Konstantin Shushakov in the dramatic final meeting of Tatyana and Onegin from Tchaikovsky's EUGENE ONEGIN at a concert by the Svetlanov Symphony Orchestra conducted by Vassily Sinaisky. The performance took place at the Tchaikovsky Concert Hall in Moscow in 2020.
Watch and listen here.
Above: cellist Nicholas Canellakis and violist Yura Lee
Sunday November 21st, 2021 - This evening at Alice Tully Hall, Chamber Music Society of Lincoln Center gave us a wonderfully satisfying program of music by composers from Russia, Germany, Hungary, and France. The works were all composed between 1849 and 1890.
A very high level of playing is maintained by the Society, making it almost impossible to single out certain concerts as being of particular merit; but tonight was surely one of the most impressive and enjoyable programs have experienced since I started going to CMS concerts regularly a few seasons back.
The program opened with the Andante Cantabile from Tchaikovsky's String Quartet No. 1, performed in a 1888 arrangement for solo cello and strings. "Cantabile" is an Italian word meaning "singable" or "song-like", and that's exactly how cellist Nick Canellakis performed it: as if singing an operatic cavatina.
From the work's tranquil start, Nick gave us impeccable playing: warm of tone and alive with dynamic subtlety. Seated next to him, the Society's co-Artistic Director David Finckel threaded a lovely line to compliment his cellist-colleague. Mr. Finckel and violist Misha Amory offered a gentle plucking accompaniment as Nick's cello continued to sing a melody with a vaguely Asian feeling. Violinists Cho-liang Lin and Alexi Kenney gave silken textures to the music. The work ends on a sweetly blended pianissimo. Mr. Finckel urged Nick Canellakis to stand first; then the other players refused to rise, leaving Nick with a solo bow, much to the delight of the crowd.
Above: Cho-liang Lin
Johannes Brahms' Quintet in G-major for Two Violins, Two Violas, and Cello, Op. 111, was written in 1890, at the start of the last decade of the composer's life. It provides a veritable feast for the ear to listeners who - like me - love the sound of stringed instruments. Mssrs. Lin, Kenney, Amory, and Canellakis were joined by that delectable violist, Yura Lee. Ms. Lee, who always delights with her choice of footwear, tonight wore white pumps; her one-shoulder black frock showed off some beautiful tattoos.
The opening movement, marked Allegro non troppo, ma con brio ("...fast, but not too fast, but with a lively feeling...") gets off to a joyous start, the violas begin duetting in a passage taken up by the violins. The music is so melodious and congenial, with Cho-liang Lin's poignant violin theme standing out. The music turns mysterious; then Yura Lee's passionate playing leads back to a reprise of the earlier pairings of violins and violas. Meanwhile, Mr. Canellakis's cello is giving everything a velvety cushion. The entire movement kept me entranced: simply fantastic playing from everyone.
The ensuing Adagio, in D-minor, has a feeling of melancholy as Yura Lee leads off with a familiar melody. Soon the music had me so engrossed that the rest of the world seemed to vanish: they were playing this music sublimely, and playing it just for me. Yura's 'cadenza' near the end was hypnotically beautiful.
Mr. Lin's violin sets the third movement, Allegretto, in motion. This is essentially a scherzo, and the melodies flow merrily on. Inspired by Hungarian folk dances, the quintet's finale is marked Vivace ma non troppo presto ("...lively, but not too fast..."). Yura Lee's viola is aglow, and Mr. Lin relishes his opportunities to spin more silk with his subtle playing. Suddenly the pace doubles, and the players break into an exultant dance. The crowd went wild: the only possible reaction to this kind of playing.
Pianist Inon Barnatan (above) kept the audience under a spell with his magical playing of Franz Liszt's “Funérailles” from the Harmonies poétiques et religieuses, written in 1849. The pianist, who in 2016 gave us a mesmerizing performance of Ravel's Gaspard de la Nuit in this very hall, was spell-binding again this evening.
This piece, which my companion Monica Wellington soon recognized as the music to which the late Liam Scarlett's 2014 ballet for New York City Ballet, Funérailles, is set. I did not see that pas de deux, costumed by Alexander McQueen, but hearing the music tonight, it's hard to image a dancework set to it: the music seems to wander thru many mood swings, but Mr. Barnatan's playing made it cohesive.
The piece opens with gloomy funeral chimes in the slow register. A plodding rhythm reminds us of mourners in a cortège; this stops, and a somber fanfare-like passage is heard. The sense of doom lessens, and then a nostalgic melody is heard, which gets rhapsodic. Animated figurations for the left hand give rise to militaristic passages, followed by a great rise in passion, Full stop. A soft, sad tune is played, whilst low-register rumblings are heard. The music ends suddenly. All this was splendidly played by Mr. Barnatan.
Above: Alexi Kenney
The concert concluded with Gabriel Fauré's Quartet No. 2 in G-minor for Piano, Violin, Viola, and Cello, Op. 45. The piece premiered on January 22nd, 1887, at the Société Nationale de Musique; it is dedicated to Hans von Bülow, the pianist and conductor who was the first husband of Cosima Liszt who later married Richard Wagner.
Above: Misha Amory
Inon Barnatan returned to the Steinway for this evening's de luxe rendering of the Fauré; he was joined by violinist Alexi Kenney and violist Misha Amory, both displaying exceptional beauty of tone, whilst Nick Canellakis rounded off his stellar evening with still more phenomenal playing.
The opening Allegro molto moderato commences dramatically, and with passion. The restless piano supports unison strings; the violin, and then the viola, have solo melodies, exquisitely played. Mr. Barnatan continues to work his magic with the music, whilst the strings bring us gorgeous blends, with Mr. Kenney's upper register truly affecting. Nick Canellakis keeps the cello line prominent without being over-bearing. The opening restive piano and unison strings return, moving to a sublime finish.
The Scherzo: Allegro molto contains lively string pizzicati heard over the piano's dazzling agitato; though the music is tinged with a strange sense of worry, there is a forward impetus. Marvelous flourishes from the keyboard lead to a sudden stop.
In the Adagio non troppo, in which the composer drew on childhood memories of the sound of church bells, provides lyrical passages for each instrument. There is much subtlety and also much passion in their playing. A curious little interlude develops into a feeling of yearning. This quietens, as piano and viola converse; then the violin takes over. Cello and piano, soon joined by the higher strings, bring us a dreamy ending.
The Finale : Allegro molto has a vibrant start; again Mr. Kenney's heavenly high-range lures the ear. The music gets bouncy, and then quite grand, as the quartet sails on thru shifting moods. The audience expressed their delight in the music - and with the the playing of it - with a joyous ovation, calling the artists back for a second bow. I felt elated as I headed out into the chilly evening air.
~ Oberon
Saturday November 20th, 2021 matinee - In 2016, Anita Hartig was a radiantly-sung Liu in TURANDOT at The Met. When her Violetta was announced in the 2018-2019 season, I was eager to hear her again, only to find that - at least at the performance I attended - she was having serious pitch problems. So this year, despite wanting to hear Charles Castronovo and Artur Ruciński in BOHEME, I hesitated to go because Ms. Hartig was the Mimi. Then I heard a clip from the prima of Mimi's Act I narrative and the soprano sounded fabulous. So, there I was today, in a packed house, experiencing the Franco Zeffirelli BOHEME for the umpteenth time.
The afternoon started on a sour note: while waiting for the curtain to rise, the two women sitting next to me removed their masks, started eating crackers, called people on their phones, and even called each other! Seriously! I wasn't about to let them ruin the performance for me, so I abandoned my seat with a view and went back to my more usual score desk.
I liked Eun Sun Kim's conducting a lot. Her tempi felt just right, and she seemed to breathe with the singers, allowing them leeway with sustaining notes when they wished. The orchestra were in fine fettle, and I especially loved the harp passages at the opening of Act III.
BOHEME is a love story, and today's lovers were excellently paired. Ms. Hartig's "Mi chiamano Mimi" was gorgeously sung and phrased, and she turned on the power for the ecstatic cresting phrase of the love duet, and again for the climax of the ensemble following Musetta's Waltz. Ms. Hartig's sustained high-C at the end of Act I was handsomely harmonized by Charles Castronovo, today's Rodolfo. The tenor's Act I aria was particularly appealing in his way with the words; his top notes do not 'bloom' but they have ample power. In Act III, his anguish in telling Marcello the real reason he must break with Mimi was passionately expressed. Ms. Hartig's "Addio senza rancor" was very moving, and she gave us an exquisite pianissimo on the final "...rancor!" A few moments later, having decided to stay with Mimi until the Spring, Mr. Castronovo ravished the ear with his own lovely pianissimo on "...alla stagion dei fior!"
Artur Ruciński's Marcello was sung with power and warmth; he led the ensemble 'reprise' of Musetta's Waltz in a commanding way, and was wonderful in his Act III duet with Mimi, and then in his conversation with Rodolfo. Fererica Lombardi was a bright-toned Musetta, making the most of her Waltz. Alexander Birch Elliott was an excellent Schaunard, and I very much liked Nicholas Brownlee's voice as Colline - so much so that I regretted leaving before his Coat Aria (the thought of sitting thru another endless Gelb-Intermission sent me packing after Act III). The Scottish baritone Donald Maxwell, long a favorite at the Royal Opera, Covent Garden, doubled in the roles of Benoit and Alcindoro.
The Zeffirelli BOHEME has come in for some bashing of late. Some people feel it's time for a change. But - like the Zeffirelli TURANDOT - it's been a veritable cash cow for the Met, selling out (or selling "big") no matter who is singing. Today's nearly full house seemed attentive and appreciative. And of course they applauded the rise of the curtain on the Café Momus scene. Oh dear, people actually enjoying themselves at the opera! We can't have that, now, can we?
Metropolitan Opera House
November 20th, 2021 matinee
LA BOHÈME
Giacomo Puccini
Mimì....................Anita Hartig
Rodolfo.................Charles Castronovo
Musetta.................Federica Lombardi
Marcello................Artur Rucinski
Schaunard...............Alexander Birch Elliot
Colline.................Nicholas Brownlee
Benoit..................Donald Maxwell
Alcindoro...............Donald Maxwell
Parpignol...............Marco Antonio Jordão
Sergeant................Tyler Simpson
Officer.................Ross Benoliel
Conductor...............Eun Sun Kim
~ Oberon
The Stockholm Singers, conducted by Bo Aurehl, perform Alessandro Scarlatti's Exultate Deo at the Strängnäs Cathedral. The concert took place in June 2018.
Watch and listen here.
Above: conductor Dima Slobodeniouk, photo by Marco Borggreve
Thursday November 18th, 2021 - It was wonderful to re-connect with The New York Philharmonic this evening when they offered a program of music by Shostakovich and Tchaikovsky at Alice Tully Hall. As the hall slowly filled to capacity, I loved seeing so many of my favorite musicians again, taking their places onstage after the long months of isolation. Sheryl Staples was the concert-master tonight, and a sense of anticipation seemed to fill the Hall.
I was not sure how these big works would fare in the rather intimate space of Tully Hall, where we're accustomed to hearing chamber music. But in fact, the sonic effect of the large ensemble was wonderful to experience: rich and deep; and when solo moments came along for the principals, the clarity was vivid. The risers for the winds and percussion were abandoned in this space. Most of the string players remained masked throughout the evening.
As the date of the concert drew near, an announcement was made that the scheduled conductor, Semyon Bychkov, would be replaced by Dima Slobodeniouk, who is making his Philharmonic debut with these performances.
Shostakovich wrote his first violin concerto 1947-48, but the composer hid it away until 1955, when it had its premiere performance by with the Leningrad Philharmonic, with David Oistrakh as soloist. It is to Oistrakh that Shostakovich dedicated the concerto.
It had not been safe for Shostakovich to bring forth this piece until Josef Stalin had been dead for two years. The 1946 Zhdanov Doctrine had warned that the post-war divide between US imperialism and the democratic Soviet Union had produced a conflict in Soviet culture: a conflict between good and best. Shostakovich knew that “best” meant: '...adhering to cultural standards specified by the government.' And he also knew that this concerto would not have been deemed "acceptable". He had already been previously condemned by Stalin, and he knew enough not to tempt fate.
Violinist Karen Gomyo (above) opened the evening, playing the Shostakovich 1st violin concerto in her debut NY Philharmonic performances. And what a triumph she had in this exceptionally demanding piece! Ms. Gomyo is a native of Tokyo; she studied at the Juilliard School with Dorothy DeLay. She looked gorgeous tonight in her midnight-blue frock, upon which tiny silver sequins sparkled like diamonds.
The concerto's opening movement is entitled Nocturne. The deep strings underscore a low, doleful melody for the solo violin; as the music moves into a higher range, a sense of longing takes over. The winds, and then the violins, accompany the soloist's ascent. Harp notes sound, the basses growl, and the winds create darkish textures, with a particularly rich solo passage for bass clarinet. Now the soloist rises to a shimmering, sustained high note.
The second movement, Scherzo, bounces out in agitato mode, the soloist deftly handling her tricky passages over the sound of plucking strings. Rhythms are brisk and uneven, taken at high speed, and the xylophone, horns, and clarinet add to the colorful palette of sound. The music breaks into a dance as the scherzo runs on to a big finish.
The third movement, Andante, is a passacaglia; after a deep, dramatic start, the music becomes dirge-like, with the basses and low winds maintaining an almost ominous feeling. The solo violin sings a poignant lament; the horn has a solo passage, plushy played, and then the plodding basses are joined by their celli brothers. The violin embarks on a gigantic cadenza, which ranges from the depths to the heights and calls for exceptional technical mastery; Ms. Gomyo's staggering virtuosity kept the audience spellbound during this incredible solo.
The finale, a Burlesque marked allegro con brio, is introduced by the drums, with the xylophone again kicking in. How sweet to hear Anthony McGill's clarinet singing forth! Ms. Gomyo makes a brilliant entrance. Orchestra and soloist have frequent interactions, with the Passacaglia theme popping up out of nowhere, now animated in a presto setting. The finale dances along its bravura way to a dazzling conclusion.
Ms. Gomyo was as riveting to watch as to hear: throughout her performance, her intensity and deep commitment could be read on her face. The audience responded to her thrilling performance with a vociferous standing ovation, the Philharmonic players joining in enthusiastically: a wonderful, celebratory atmosphere in the Hall.
After the interval, Tchaikovsky's first symphony, known as "Winter Dreams" was sumptuously played by the orchestra, conducted with passion and great attention to detail by Maestro Slobodeniouk.
While I have always thought of Tchaikovsky as one of my favorite composers, for me the first symphony is not one of his finest works. I'd only heard it played live once before, by this same orchestra; at that time I found it pleasant enough. But maybe that is all it is: pleasant.
The first movement really felt over-long this evening; basically it seemed to be heading nowhere. Likewise, the fourth movement takes forever to get going, with various detours and a slow revving of the engines before the Allegro maestoso finally bursts forth The highlights of this performance were the passages that Tchaikovsky assigned to the principals: Robert Langevin (flute), Liang Wang (oboe), Anthony McGill (clarinet), and Judith LeClair (bassoon). Liang Wang's solo in the second movement, which becomes entwined with the sound of the Langevin flute, was a little slice of heaven. Section by section, too, the orchestra simply sounded great: the viola and cello themes in the Adagio really glowed, and the richness of the cellos and basses in the final movement was truly savourable.
Yet, despite superb playing, tonight the Tchaikovsky 1st joined the Beethoven Pastoral on my list of symphonies to avoid in future. I think Tchaikovsky did Winter better in THE NUTCRACKER.
~ Oberon
Polish mezzo-soprano Małgorzata Walewska sings Hector Berlioz's La Mort de Cléopâtre at a concert given at Katowice in 1996. Andrzej Straszyński conducts the Symphony Orchestra of the Silesian Philharmonic.
Listen here.