Oberon's Grove

Fedora Barbieri ~ "Mon coeur souvre a ta voix"

Fedora Barbieri sings Dalila's "Mon coeur souvre a ta voix" at a concert given in 1952 at the War Memorial Opera House in San Francisco.

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Angela Gheorghiu ~ "Depuis le jour"

Angela Gheorghiu sings "Depuis le jour" from Charpentier's LOUISE from a televised concert concert given at Radio Hall Bucharest in 1988.

Watch and listen here.

Nicolae Florei - Prince Igor's aria

Romanian bass-baritone Nicolae Florei sings Prince Igor's aria from the Borodin opera.

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Zinka Milanov in LA FORZA DEL DESTINO

Zinka Milanov in one of her greatest roles - Leonora in Verdi's LA FORZA DEL DESTINO - from a 1958 Metropolitan Opera broadcast. Flaviano Labo, Mario Sereni, and Cesare Siepi are Zinka's co-stars, and Fritz Stiedry is wielding the baton.

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Sondra Radvanovsky ~ La luce langue

Sondra Radvanovsky sings Lady Macbeth's "La luce langue" from the Verdi opera.

Watch and listen here.

Evgeny Kissin @ Carnegie Hall ~ May 2024

Above, Yvgeny Kissin at Carnegie Hall; performance photo by Steve J Sherman

~ Author: Ben Weaver

Friday May, 24th, 2024 - Evgeny Kissin is giving back-to-back concerts of the same program at Carnegie Hall this month. I attended the first one this evening, and it was a magnificent night of music, one of the best things I have heard in a concert hall this season. Kissin’s program is so popular, in fact, that not only were additional seats added on the stage (more about that later), but he will repeat this program on May 29th.

Surprisingly this was my first time hearing Kissin live, though I have admired his many recordings over the years. He is a very unaffected performer, seemingly almost shy. His very sincere physical presence and unpretentious playing made an enormously positive impression throughout the night.

Kissin began the program with Beethoven’s Piano Sonata No. 27 in E minor, Op. 90, composed in 1814. It reflects Kissin’s overall demeanor that he began with one of Beethoven’s least performed piano sonatas. Made up of only two movements - unusual for Beethoven - it open with a familiar Beethovenian bombast, but that falls away almost immediately and an achingly lovely melody takes over; it will return throughout the movement. The tonal contrasts throughout the the work can be hard to weave together. Kissin’s cleared those hurdles effortlessly. His playing was very clean and unfussy, each note etched like a diamond. Despite the Sonata’s Romanticism, Kissin seemed to be connecting it to Haydn and Mozart.

Throughout the night one noticed Kissin’s very judicious use of the pedal, never letting the sound get murky and messy. This gave a great clarity to Chopin’s Nocturne in F-sharp minor, Op. 48, No. 2 and Fantasy in F minor, Op. 49 (both composed in 1841.) The long, melancholic melodies of the Nocturne - a particular specialty of Chopin’s - was played gently and without undue sentimentality. At each carefully built climax, Kissin pulled back just in time before falling into schmaltz. He launched into the Fantasy’s opening march right away. It felt like another example of Kissin not milking the crowd for affection.

With Brahms’ Four Ballades, Op. 10 (composed in 1854) Kissin again reigned in much bombast, reminding us that Brahms, though composing at the height of Romanticism, was more of a classicist in temper. Which is not to suggest that his playing was lacking in brimstone. But Kissin’s very carefully chosen moments of when to let things blow up were fascinating to hear. The focus was always on the music and not the individual at the keyboard.

Prokofiev’s Piano Sonata No. 2 in D-minor, Op. 14 (composed in 1912) is an early composition for the young composer (he was still a student at the St. Petersburg Conservatory), and it shows him trying out new ideas that would become trademarks in his future works. The Scherzo in particular sounds like echt Prokofiev: a playful melody played with demonic speed and attitude. Kissin’s hands were flying over the keyboard in a blur. With Prokofiev, Kissin ended the official program with the most outwardly virtuosic  piece played as dazzlingly as one can imagine.

Photo by Steve J Sherman

The audience response was predictably wild. Kissin quickly offered 3 encores, all played superbly and all connected to the main program. A Mazurka by Chopin, March from Prokofiev’s opera “The Love for Three Oranges,” and Brahms’ gentle Waltz, Op. 39, No. 15. 

During the opening Beethoven piece, the audience had been remarkably quiet. Perhaps making a note of this in my head jinxed the situation because what followed during the rest of the program was people repeatedly dropping things (probably their cell phones) and ringing cell phones. There is also always a risk in placing members of the audience onstage: one young girl in a white dress, sitting near the edge of the stage, was very bored and was swinging her legs the entire 1st half of the program. Thankfully her father probably took her home during intermission because they did not return. And just as Kissin launched into Prokofiev’s sonata, an elderly couple decided to exit the stage, down the steps, and out the door. Audience etiquette remains an untamable beast.

~ Ben Weaver

Performance photos by Steve J Sherman courtesy of Carnegie Hall

Sophia van Sante sings Mahler Songs

The Dutch mezzo-soprano Sophia van Sante and pianist Gérard van Blerk perform three songs by Gustav Mahler at a 1974 recital at The Hague.

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BALLO IN MASCHERA @ Covent Garden ~ 1975

Above: Elizabeth Bainbridge

A performance of Verdi's UN BALLO IN MASCHERA in 1975 was televised live. 

Watch and listen here.

Conductor: Claudio Abbado

Riccardo - Plácido Domingo; Renato - Piero Cappuccilli; Amelia - Katia Ricciarelli ; Ulrica - Elizabeth Bainbridge;  Oscar - Reri Grist; Silvano - William Elvin; Samuele - Gwynne Howell; Tom - Paul Hudson

Placido Domingo and Reri Grist were in my first-ever BALLO at The Met in 1970. And Ms. Bainbridge is a grand, Olde School English contralto Ulrica.

Sejong Soloists @ Zankel Hall

Above: Maestro Earl Lee, photo by Emilio Herce

Author: Oberon

Wednesday May 22nd, 2024 - Celebrating their 30th anniversary this evening at Zankel Hall, Sejong Soloists presented the US premiere of Unsuk Chin's "Puzzles and Games" from Alice in Wonderland, and the world premiere of Texu Kim's With/out book-ending a spectacular performance of Felix Mendelssohn's Octet. It was one of most enjoyable concerts of the season, joining such Springtime delights as violinist Lun Li's Young Concert Artists recital at the Morgan Library, the Orchestra of St. Luke's splendid Brahms REQUIEM at Carnegie Hall, and Chamber Music Society of Lincoln Center's thrilling program, Songs and Snow, on my list of musical events that have kept my spirits up in these chaotic times.

Making her Carnegie debut tonight, soprano Juliana Zara (above, photo by Emilio Herce) was the soloist in the Unsuk Chin work, a daunting 20-minutes of singing which at times carries the singer into the highest range of the soprano voice. Ms. Zara never seemed daunted by the vocal writing: in fact, she seemed to revel in it. Conductor Earl Lee and his musicians gave the singer perfect support, whilst also seeming to savor the composers' quirky and colorful writing for the ensemble.

One by one, oboe, clarinet, flute, and bassoon join in the introductory phrases to Alice - Acrostic before Ms. Zara's clear, lyrical voice is heard. This brief song ends with deep chords. Pizzicati are passed about in the introduction to If I Never Reach the Gardens, with gentle (slightly eerie) passages for the strings (and did I hear a harmonica?) before the music turns woozy; the soprano speaks much of the poem. The third and fourth songs, on the Curiouser and Curiouser theme, seem to run together. The music stays groggy, the words largely spoken, until a crashing chord is struck. Dotty rhythms and semi-singing in Who In The World Am I? are underscored by by insectuous strings and burbling winds before the flute has a final say.

The piano introduces The Tale-Tail of the Mouse, with melodramatic sprechstimme from the soprano. Spaced-out harmonies and scurrying flutes lead to the final words: "Condemned to Death". I thought I detected a musette in the atmospheric lullaby Sleep Tight My Ugly Baby, though my ears may have deceived me. The music is filled with droopy sighs; a sense of quietude settles in, and night chimes are heard. In Cat's Aria, Ms. Zara ventured impressively into the upper extremes of the soprano range, lingering there is a series of amazing (and intentionally annoying) meows-in-alt.

Twinkle, Twinkle Little Star has a delightful delicacy about it; then the music turned livelier and a catchy xylophone 'cadenza' established a playful mood. The music fades away at the end. The final song is Speak Roughly To Your Little Boy, introduced by a drum roll. A pulsing beat accompanies this mean mother's lecture, with tambourine and bassoon interjecting. Now the vocal line goes completely bonkers - Ms. Zara didn't simply manage it, she triumphed over it - as cymbal crashes bring this dazzling, quirky piece to a close. The soprano basked in a shouting ovation from the crowd, so truly deserved; she graciously signaled her thanks to the musicians and the Maestro.

Above: Ms. Zara, Maestro Lee, and the ensemble; photo by Emilio Herce

The first time I heard the Mendelssohn Octet played live was at the New York City Ballet, where, in 2004, Peter Martins created a lovely ballet to this score, written by the composer at the ripe young age of 16. It is a veritable treasure chest of melodic and rhythmic felicities, and tonight it elevated my mood - constantly dragged down of late by the darkness that is spreading throughout the world - to one of great joy. 

An octet of prestigious string players (above photo by Emilio Herce) was led this evening by the Metropolitan Opera's concertmaster David Chan, and the NY Philharmonic's concertmaster, Frank Huang. From the Sejong Soloists' roster, violinists Daniel Cho and Andrew Wan, violists Brian Chen and Paul Laraia, and cellists Ole Akahoshi and Jesús Castro-Balbi joined to create an ensemble alive with multi-hued timbres which created a very cordial blend.

The Mendelssohn Octet is a four movements, with the opening Allegro moderato con fuoco - in my opinion, one of the greatest movements in all the string quartet repertoire - being the longest by far. It opens with joyous arpeggios and vibrant accompaniments. A more lyrical second theme has an elegant feel. The Andante brings restfulness, but with a rather intense middle section that offers contrast. Mendelssohn is the King of Scherzi, and here we are offered a feast of trills and an ethereal lightness of textures. The concluding Presto is both deliciously agitated and cunningly witty. There were times when the piece seemed almost like a concerto, thanks to David Chan's virtuosity. 

Above, taking a bow after the Octet; photo by Emilio Herce

Above, the soloists for the Texu Kim premiere: David Chan, Daniel Cho, Andrew Won, and Franck Huang; photo by Emilio Herce

Violins remained in the spotlight for the world premiere of Texu Kim's With/out, which was positively brilliant. This is a concerto for four violinists, with string orchestra and a single percussionist. Frank Huang now took the lead, with Mssrs. Chan, Cho, and Wen again creating a stellar quartet. 

The opening movement, lonesome and fluorescent, starts with a hesitant pulse; the musicians interject melodic fragments and quirky sighs. There are touches of humor, and a fresh bass beat is taken up. A short downward motif is passed among the four soloists (it will recur in the final movement), and the music becomes briefly grand, with repetitive pulsings. Then there's a whirlwind...until a whip cracks, restoring order. A brief da capo leads to an other-worldly conclusion.

The second movement, subdued and imploding, is darker and a bit eerie. The four violins play in unison, and then a shivering misterioso mood sets in. The basses strike up, again the whip cracks, and the beating timpani feels like a slow, swaying dance. The sound-textures are varied, holding our keen interest; each soloist shines in turn. After briefly turning epic, there is a passage of harmonizing for the orchestra's violins. A sustained trill from Frank Huang leads to a sudden stop.

The final movement, festive!!, has an oddly familiar start: an homage to Stravinsky with a brief quote from his Violin Concerto. This gave my companion and I a jolt, as we are both Balanchine fans. The timpani plays a role, setting up a forward impetus. There is an intermezzo, with the descending motif from the first movement popping up again. The music becomes cinematic and, after a lull, rebounds to a finale.

Above: composer Texu Kim joins the musicians for a bow following his with/out, photo by Emilio Herce

The hall erupted in a lively ovation which doubled in intensity when the charming, youthful-looking composer (he's 34) hoisted himself onto the stage as cries of bravo! rang out. A perfect end to a perfect evening. 

~ Oberon

Performance photos by Emilio Herce, courtesy of Beverly Greenfield/Kirshbaum Associates

 

Upcoming: Oona Doherty's NAVY BLUE @ The Joyce

Above: from Navy Blue, photo by Dijana Lothert

Irish choreographer Oona Doherty makes her Joyce debut (June 4th thru 9th) with Navy Blue, set to an eclectic soundtrack of works by Sergeï Rachmaninoff and electronic composer Jamie xx, with spoken poetry woven in. Described by the choreographer as "...a questioning of what to do next,” the work speaks of redemption, freedom, and a new future for mankind.

"Content Warning: This show contains a gun shot sound effect, brief nudity, strong language, and intermittent loud music." (Sounds good to me!)

Watch a Navy Blue trailer here. Tickets and more info here.