One of the most astonishing passages in Homer is the simile in Book XV of the Iliad, which describes the rapidity of Hera’s flight to Olympus (Il. XV, 79ff.)…
Richard Wagner, Der Ring des Nibelungen: Siegfried, Royal Opera House Covent Garden under Antonio Pappano with John Tomlinson as Wotan
When, in my review of his recent performance to Haydn’s Creation, I was reflecting on Sir Colin Davis’ career, I mentioned the Ring Cycle he conducted at Covent Garden in 1976. I thought that Siegfried was the most successful of the performances, because Sir Colin seemed to have fallen in love with its spectacular score. In no other work are the beauties of Wagner’s composition so constantly and so openly present. As I sat raptly in my seat, the orchestra and all the wonderful qualities Sir Colin could reveal in it were without a doubt the focus of my attention. And so it is for most of us in most performances, past or present, whether it is Furtwängler, Knappertsbusch, Solti, Böhm (whose splendid Bayreuth performances, available on Philips, should be better remembered), Boulez, or Levine. The orchestra functions as storyteller—a surpassingly eloquent one, with all the resources of Wagner’s musical imagination.
Frans Brüggen, Viviane Hagner, and the Scottish Chamber Orchestra in an All-Mendelssohn Concert at Queen’s Hall, Edinburgh, 10/18/07
One doesn’t often encounter all-Mendelssohn programs. If I were to find one in the Tanglewood season, I’d suspect it was a somewhat excessive gesture towards the more conservative members of the audience. On the other hand, from the Scottish Chamber Orchestra and Frans Brüggen, who has maintained a long-term relationship with the orchestra over the years, it meant a fresh look at three important works by a towering figure in nineteenth century music. Our view of Mendelssohn is still colored by the popular conception of him as a genial, highly privileged composer of tuneful works, who sadly died at the young age of thirty-eight. In truth, he was, both as a composer and a conductor, an extremely influential leader in the highly theoretical and factionalized world of Romantic music, the central figure in the more conservative, “classizing” group based in Leipzig.
Scottish Chamber Orchestra with Thierry Fischer, Conductor play a Haydn Mass and Beethoven’s Fifth at Queen’s Hall, Edinburgh
The Scottish Chamber Orchestra, founded in 1974, has enjoyed a world reputation for some time now for the work they have achieved over the years under Sir Charles Mackerras, who still conducts the orchestra on occasion. And they are anything if not versatile, playing a repertory spanning the Baroque and the contemporary. Saturday evening they were in their Classical mode, playing Haydn and Beethoven with a slightly relaxed compliment of original instruments (i.e. cellos on pins and metal flute alongside gut strings, natural horn and trumpet, etc.) under the direction of the brilliant Swiss conductor, Thierry Fischer. The evening was a splendid success, full of imaginative insights and intense music-making. The orchestra and singers seemed to enjoy it as much as the audience, a special distinction for Mr. Fischer, who conducts without a baton, using vigorous, occasionally extravagant gestures, which never failed to bring the musicians together in committed playing and tight ensemble.
When one is in town, one amuses oneself; when one is in the country,one amuses other people. Oscar Wilde, from The Importance of Being Earnest It was with this truthful witticism in mind that I withdrew myself from the…
John Cage Tribute Concert at Bard; Lecture on the Weather “Even when our industrialists thought of themselves as the owners of the world, of all of it, not just the part between Mexico and Canada. Now our government thinks of…
As you may or may not have heard, last week was a strange one here in Sydney. The arrival of twenty world leaders and George Bush’s mountain bike warranted the erection of a five kilometre fence around certain grade A, mostly waterfront, parts of the central business district. There was debate and consternation, protest and, unexpectedly, pro-Bush counterprotest. While Bush rode his bike on my local trails, the leaders of countries like Chile and South Korea were unable to travel to the suburbs to meet their countrymen and women living in Australia. Then a group of comedians, one dressed as Osama Bin Laden, breached the exclusion zone in a fake Canadian motorcade. Which was funnier, the stunt itself or the pundits who insisted it wasn’t funny?
For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner’s third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs marching through the aisles and trumpets spread about the hall. Although, as always, Ms. Queler’s focus was always on the music, she captured some of the spectacle of the first performances.