Tag Archive: Handel

Glimmerglass 2017: Opera in Angustiis: Commentaries for our Troubled Times in Stunning Glimmerglass Season Siege of Calais

Talise Trevigne as Bess and Frederick Ballentine as Sportin' Life in The Glimmerglass Festival's 2017 production of The Gershwins' "Porgy and Bess." Photo Karli Cadel/The Glimmerglass Festival.

The late Donizetti masterpiece, L’assedio di Calais (The Siege of Calais) is a rarity indeed, even in Europe. Four years after the first performance, l’assedio was not performed again until 1990.  One hundred and eighty-one years after its premiere in 1836, this Glimmerglass production marked the American premiere.  During its composition, Donizetti had struggled with it and bent operatic conventions to seek performances in Paris. Ultimately, the opera was a tactical failure and Donizetti wound up with two versions, with an unequal number of acts. In preparation for this production, Francesca Zambello and Joseph Colaneri worked on a new performing edition that tightened loose ends and yielded a satisfactory, if not compelling, conclusion.  Some ballet music was lost in the cuts, but dance (to curry favor with French opera goers) would be an awkward addition to the nobility and gravity of the plot. In the Zambello/Colaneri conclusion, the final exculpation of six sacrificial hostages was emotionally and musically heartrending.

A Room with Two Views: Campra and Handel at the Boston Early Music Festival

Caroline Copeland in Cmapras's Le Carnaval de Venise. Photo Kathy Wittman.

Two large-scale vocal works were presented at BEMF on successive nights (Wednesday and Thursday, June 14 and 15), one a work of music theater, merging opera and ballet; the other devotional but in the musical language of opera absent the staging. Composed within nine years of each other, they offer contrasting perspectives of Italian music and culture from the points of view of a French and a German composer. Both were clearly besotted with Italy, one responding to the carnival spirit of Venice with its light-hearted approach to life, love, and entertainment; and the other situated at the center of the sober religious and devotional culture of Rome. Experiencing these two works back-to-back and interpreted by many of the same performers provided a wonderfully condensed testament to the multidimensional attractions and influences that Italian opera radiated at the turn of the 18th century.

Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller

Jeannette Sorrell. Photo Roger Mastroianni.

Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.

Emmanuel Music, with Andrew Rangell, Piano, at the Rockport Chamber Music Festival

Andrew Rangell. Photo David Shriver.

It is always a pleasure to be in the Cape Ann harbor town of Rockport and to attend musical events in the beautiful Shalin Liu recital hall with its glass wall looking out to sea. The June 26th concert provided a striking contrast in styles of Baroque era music, with works of Bach and Handel, respectively, in the two parts of the program. The listener was invited into an emotional journey from darkness to light.

Handling Handel: Mark Morris’ Acis and Galatea, plus more Handel, Monteverdi, BLO’s I Puritani, the Met’s Cenerentola, and other adventures in opera-land

Portrait of George Frideric Handel by Balthasar Denner.

The Mark Morris Dance Group was back in Boston with the East Coast premiere of a major new work, Handel’s ravishing pastoral opera Acis and Galatea, under the aegis of the Celebrity Series of Boston, one of the co-commissioners. I loved it. Or to put it more accurately, I’m in love with it, and saw three of its four performances at the Shubert Theatre. Morris has now staged several complete operas and one Handel oratorio. At least two of these are generally regarded as his masterpieces: Purcell’s one-act opera, Dido and Aeneas (1989), in which all the singers are offstage and the dancers play the main characters; and Handel’s L’Allegro,il Penseroso ed il Moderato (1988), in which the singers are also offstage, and there are no charactersBut in Rameau’s delectable Platée (1997) and in Morris’s productions of Gluck’s Orfeo ed Euridice (Handel and Haydn Society, 1996; the Metropolitan Opera, 2007), singers played the leading roles and appeared on stage along with the dancers.

Handel’s Aci Galatea e Polifemo by Le concert d’Astrée

Laurent Nauori, Delphine Galou and Lydia Teascher and Le concert d'Astrée. Photo by Kevin Yatarola.

After the Boston Early Music Festival’s magnificent production of Handel’s first opera Almira, certainly a youthful work, from before he left for Italy, but such a great one, it is fascinating to hear another of his early dramatic works from a little later. He wrote Aci, Galatea e Polifemo as a cantata or serenata for a neapolitan royal wedding in 1708 (a year after his first cantata Il Trionfo del Tempo e del Disinganno and in the same year as his first oratorio La Resurrezione), and it feels to me very far to the opera end of the spectrum.

BEMF 2013: Review: Feeling the Elephant’s Ear

The BEMF Orchestra.

No one can review the Boston Early Music Festival. Critics must select what time, physical energy and mental attention allow from the one hundred and forty plus musical events, exhibition offerings, lectures, etc, that are encompassed by the official festival and its very prolific offspring on the “fringe,” whose events are included in the official program book. (Schlepping the 300 + page book to events gets to be another physical challenge.) This assessment of the scope, size, and character of the event is based on random selection and personal bias. As a keyboard player, I favored keyboard events to the point of taking in a series of concerts rather than running from one venue another. In a few cases, I wanted to see performances by people I know. I also seem to have listened to a lot of Bach. From this random sampling, I hope to convey something of the range of performers’ skills, repertory, ideas, and innovations attached to the concept of “Early Music” in this year’s festival. But this report is only the elephant’s ear; others will have to deal with the rest of the creature’s anatomy.

The Voice (Kristen Watson) Meets the Chalumeau (Eric Hoeprich), an Aston Magna Concert at Brandeis

Eric Hoeprich

Reluctant to miss an opportunity to hear the great clarinettist Eric Hoeprich, especially after his sensitively nuanced performance of Mozart’s Kegelstatt Trio for the Boston Early Music Festival, I found it necessary, unfortunately, to miss an important BEMF evening in order to make the trek out to Brandeis. Daniel Stepner in fact apologized for the conflict, promising to avoid them in the future. Indeed, it would be to the advantage of Boston audiences if the two festivals could pool their resources to make it possible for BEMF audiences to hear the Aston Magna musicians, especially this one, devoted to a rarely heard, obsolete elder sibling of the clarinet, the chalumeau.