Aspen Music Festival (13): A fine Clemenza and Edgar Meyer & Son

20/08/2017

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Aspen Music Festival [13] – Mozart, Haydn, J.S. Bach, Edgar Meyer, Rossini, George Meyer, Bottesini: Soloists, Aspen Opera Center Orchestra and Chorus / Jane Glover (conductor), Wheeler Opera House, Harris Hall, Aspen, CO. 15-17.8.2017. (HS) Read more

The Festival Entertains with a Full-Scale Musical Production of Gilbert & Sullivan’s Engaged

20/08/2017

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Gilbert & Sullivan, Engaged: Festival production by Alan Borthwick and Friends, Harrogate Festival, Royal Hall, Harrogate, Yorkshire, England  11.8.2017. (RJW)

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Gilbert & Sullivan’s Engaged (c) Raymond Walker

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Barrie Kosky Brings Typical Madcap Mayhem to his Thought-Provoking Bayreuth Meistersinger

19/08/2017

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Bayreuth Festival 2017 [2] – Wagner, Die Meistersinger von NürnbergSoloists, Chorus and Orchestra of the Bayreuth Festival / Philippe Jordan (conductor), Festspielhaus, Bayreuth, 15.8.2017. (JPr)

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Act I of Barrie Kosky’s Die Meistersinger von Nürnberg
(c) Bayreuther Festspiele/Enrico Nawrath

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Brahms’ Requiem and a Makeshift Strauss Opera Hit and Miss on the Fringe

19/08/2017

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Edinburgh Festival Fringe 2017 [3] (SRT)

Brahms – A German Requiem, NYCOS, St Giles Cathedral, 12.8.2017

Strauss – Ariadne auf Naxos, VoiceArc, Broughton St Mary’s Church, 18.8.2017.

As if he wasn’t already busy enough with the Edinburgh Festival Chorus, their Chorus Director, Christopher Bell, spent what must be a rare August night off conducting his other main Scottish Group: the National Youth Choir of Scotland (NYCOS). I’ve sung their praises many times elsewhere in these pages. Their quality far outshines their age and experience, and they can produce artistry of astounding maturity alongside the pure tone that you associate with young voices, together with bags of enthusiasm. When I heard them late last Saturday evening, they were singing Brahms’ Requiem, to an organ accompaniment, in the august surroundings of St Giles’ Cathedral, the High Kirk on Edinburgh’s Royal Mile. This made for a lovely atmosphere, as did the sell-out crowd, but the echoey acoustic inevitably led to a cloudy sound in places. To be fair, that was only rarely a problem, and in the slower passages, such as the first and last movements, the reverential atmosphere fitted the acoustic beautifully. The two great fugues, however, were taken optimistically quickly, and the ensuing aural fog wasn’t good, precipitating some inaccuracies.  Furthermore, be it the venue or the direction, some of their usually sensitive shading wasn’t quite up to speed either. The dynamic range seemed to stretch from ­forte to mezzoforte throughout, something that was particularly damaging in the second movement, and I couldn’t tell whether that was due to the acoustic, the direction or the necessity of keeping control in the unwieldy building. Never mind: it’s the peaceful aura of the outer movements that will stick with me the most, together with the dramatic contributions of soloists Andrew McTaggart and Samantha Sodden.

At least NYCOS got their show off the ground. Across town, in the lovely Georgian church of Broughton St Mary’s, VoiceArc’s planned staging of Strauss’s Ariadne Auf Naxos was torpedoed by “circumstances out of our control pertaining to copyright and performance rights.” Hmm: I smell a cock-up. They went ahead with what they called on “open rehearsal” for which, to give them credit, they didn’t charge. It led to a slightly awkward set-up of the singers being able to choose how much they acted. Some didn’t at all, some (such as Echo) did far too much, and the whole thing came across as a bit slapdash. That was reiterated by the fact that there was no information about any of the performers, barring each introducing themselves verbally, so I can’t single out any of them by name. That’s a shame, because some of them were very enjoyable, especially a really cherishable Zerbinetta, and a buoyantly confident Composer. Both Ariadne and Bacchus had appropriately big voices, if they were a little approximate on top, and I enjoyed the troupe of comedians, though I will go to my grave thinking that their scene between Zerbinetta’s aria and Bacchus’ entry needs to be drastically cut. Top marks to their heroic, if anonymous, pianist, who got the biggest workout of the evening and deserves a medal for sustaining it.

Simon Thompson

For more about the Edinburgh Festival Fringe click here.

Thrilling Poppea Cements Gardiner’s Greatness in Epic Festival Feat

18/08/2017

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Edinburgh International Festival 2017 (9) – Monteverdi, L’incoronazione di Poppea: English Baroque Soloists, Monteverdi Choir / John Eliot Gardiner (conductor), Usher Hall, 17.8.2017. (SRT)

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As Always, the Vienna Philharmonic Gives of its Best for Muti

18/08/2017

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Salzburg Festival [4] – Brahms and Tchaikovsky: Yefim Bronfman (piano), Vienna Philharmonic Orchestra / Riccardo Muti (conductor). Grosses Festspielhaus, Salzburg, 13.6.2017. (MB) Read more

The Dala-Floda Opera Festival Comes to a Grand Finale

18/08/2017

Dala-Floda Opera Festival: Soloists, Dala-Floda Opera Chorus, Jacob Piamorex Moscowicz (piano) Dala-Floda Church, Dalecarlia 10.8 & 13.8.2017. (GF)

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Kevin Johansson and Mira Fröling Hoffman (c) Marie Johansson

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Hartmut Haenchen’s 2017 Bayreuth Parsifal Gains in Tension, Spirituality and Reverence

18/08/2017

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Bayreuth Festival 2017 [1] -Wagner, Parsifal: Soloists, Chorus and Orchestra of the Bayreuth Festival / Hartmut Haenchen (conductor). Festspielhaus, Bayreuth, 14.8.2017. (JPr)

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Parsifal (Andreas Schager) and Flowermaidens
© Bayreuther Festspiele/Enrico Nawrath

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