Tag Archive: concert opera

The Sydney Symphony Becomes Opera Impresario with a Memorable Queen of Spades by Tchaikovsky in Concert

Tchaikovsky wrote Queen of Spades, in 1890, and one other opera, Iolanta, in 1891, near the end of his life after having promised never to write another opera because of the unpopularity of The Sorceress (1887). For theatre, these were very fertile years for Tchaikovsky. The Mariinksy first performed Sleeping Beauty in 1890 and Nutcracker in 1892. He wrote Queen of Spades at a Mozartean rate in Florence where it is said he composed the music faster than his brother Modest wrote and sent the libretto scene by scene. Perhaps living in Florence gave him enough distance from the darker, more repellent aspects of the story to avoid getting run down by it, but anyhow it seems a strange subject for him to choose, especially surprising to hear the incredibly lyrical music he created for it. The antihero Hermann is repellent, but for some of the beautiful music Tchaikovsky gave him, yet even so Hermann’s are not as beautiful as Don Giovanni’s arias (and duets), but I don’t believe Tchaikovsky thought or intended his music to be as beautiful as Mozart’s.

Richard Wagner, Der fliegende Holländer: the beginning of Marek Janowski’s Historic Series of Concert Performances of the Ten Mature Operas and Music Dramas

Since his renowned 1980-83 recording of Wagner’s Ring with the Dresdener Staatskapelle, Marek Janowski has acquired a cult following, especially in Wagner, not unlike Jascha Horenstein or Reginald Goodall. His steady, active tempi and decisive phrasing evoke an older performance style which goes back, it is thought, to the days of Richter, Seidl, and Mottl. Janowski, when asked if he studied historical performances of Wagner expressed his devotion to Wilhelm Furtwängler and an admiration for the Bayreuth performances of Hans Knappertsbusch, which, he points out, are not at all as slow as is generally thought. Janowski’s own mentor in conducting was Wolfgang Sawallisch, who left an easily noticeable mark on Janowski’s mature style as a conductor, with his restraint and and constant vigilance over orchestral balances, as well as the balance of dramatic flow and structure. In fact, there is a good deal in common that one can hear in the performance under consideration and Sawallisch’s 1961 Bayreuth performance. “Ein guter Meister…”