After attending the fully staged performance of Korngold’s opera Das Wunder des Heliane and the concerts of the second weekend of the Bard Korngold Festival, I arrived a distinct sense of the shape of the composer’s career trajectory and of the development of his unique musical sensibility, one which I suspect the festival programmers might not have hoped to suggest. To the extent that Korngold’s name is familiar, it is owing to his powerful, compelling, and influential Hollywood film scores. The unique, invaluable Bard Music Festivals usually aim to take us beyond and behind the headlines associated with its central figures and to give us a means to re-evaluate them in a more nuanced way, in the context of their less familiar works as well as those of their contemporaries. In the case of my encounter with Korngold, however, the result was a strengthening of the general view that this composer was born to compose film scores.Up to now, Korngold’s non-film music has not been completely neglected.
American Symphony Orchestra
As I return to the Bard Music Festival year after year, I notice that the spaces of Olin Hall and the Fisher Center, become more crowded and sold-out notices appear ever more frequently. I also notice that I’ve seen a good many of the attendees before. There is certainly a minority who are passionately interested in one composer or his historical and cultural context and not in the others, but I am confident in saying that the core of the Bard audience consists of recidivists. Lately the choice of focal composers has shifted from the undisputed pantheon to composers who are interesting because of their cultural position in their own time. Saint-Saëns, Chávez, and Rimsky Korsakov fall into this category. The audience keeps on growing. It’s obvious that we share a broad interest in western art music, but the way in which the individual composers are presented is exploratory, and, given the presence of musicians and musicologists, bound to take a controversial course. I always leave not only knowing something I didn’t know before, but with a profound new insight, and, most important of all, questions to mull over during the months that separate us from the next Bard Festival.
I was tempted to preface this review of this rarely performed oratorio by Sir Edward Elgar with a harangue about the neglect of British music in this country, but I was pleasantly surprised to look over the upcoming Tanglewood schedule, and to find that British music and Sir Edward will be rather well served this summer
Permit me to indulge in a one-sided argument…or a rant, as I believe it's called in the blogging world—which is not ours at New York Arts and The Berkshire Review! Opera in the United States is particularly unsettled at the moment, if not in trouble. Both audiences and sources of funding are on a downward curve, although the better-managed companies seem to be coping. The biggest beast of all, The Metropolitan Opera, compromised by the bad judgement of its General Director, Peter Gelb, is the most worrisome of all.
If I were one of those opera aficionados who thrives on adding unusual operas to a list, I’d be in heaven. I saw two opera productions this summer — not by Puccini, Verdi, Wagner, or Mozart, but by Friedrich von Flotow and Edith Smyth — and I’d never seen either of them before. One of them was typical summer entertainment, a light and charming comedy, in a modest, stripped down production; the other just the opposite — a grim tragedy that looked as if a lot of money had been thrown at it.
My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, Prokofiev, and Sibelius. And, well, Saint-Saëns was too gifted to be great, and that really didn't interest him in any case. Of the composers included in the festival, only Wagner and Stravinsky turn up on common lists of the greatest—not that those stupid lists do anything but harm. Still, during the two weekends devoted to Franz Schubert I felt I was living with the gods, and the lingering impression of those weekends swelled accordingly.
The Collegiate Chorale, as part of their famously diverse season, will present a single concert performance of Arrigo Boito's Mefistofele at Carnegie Hall on November 6, 2013 at 8 pm. In this concert production, the Collegiate Chorale will feature Eric Owens, one of the most intelligent and impressive singers of the present day, in the role of Mefistofele, with Arturo Chacón-Cruz, as Faust and Julianna Di Giacomo as Margherita. Mefistofele is no less a vehicle for the chorus, stressing as it does large-scale ensembles, with colorful evocations of devilry and witchcraft, angelic hosts, and solid fugues.
Leopold Stokowski seemed to float in and out of Carnegie Hall last Saturday evening, as Leon Botstein led the American Symphony Orchestra in their festive—and massive—50th birthday celebration. In fact Maestro Botstein made it perfectly clear that the concert was as much about the founder as it was about the orchestra in his introductory talk and in his important program note, available on the ASO site. The American Symphony Orchestra was the fruit of over twenty-two years of short-lived attempts by Stokowski to found orchestras which put into practice a few ideals that were dear to his heart: bringing American-born and -trained musicians into the mainstream of classical music, to make orchestral concerts easily and inexpensively available to working people, and to play repertory outside the most familiar classics.