Haunting ethereal cello music by adam hurst
In the final scene, when Porgy discovers that Bess has left for New York with her drug dealer, Owens was heart-rending, releasing a flood of raw emotion that left him visibly drained at the curtain call. Besides singing formidably, Aaron encompassed all aspects of the tragic Bess—her physical attractiveness, kindness and ongoing struggle against her weaknesses.
Bass-baritone Mark S. Doss was to sing the violent Crown, but had to cancel due to illness. Ford, who had sung the role in London, was wholly persuasive as the brutish drunk who kicks off the plot by killing a man over a game of dice. When, on the run from the law, Crown seduces Bess away from Porgy, he was sexy and dangerous.
He and Aaron made the stage sizzle. The singing got even better in the ensembles, above all in the rousing spiritual harmonies. The especially assembled chorus, more a set of soloists really, also took the smaller roles. They were all taken beyond reproach, with outstanding performances by tenor Ronald Samm as Peter the honey seller and sopranos Sarah-Jane Lewis and Pumza Mxinwa as, respectively, Annie and Lily.
As for the Netherlands Philharmonic Orchestra under the expert baton of James Gaffigan—they got rhythm. Gaffigan approached the score respectfully while delighting in its exhilarating mix of jazz, Jewish religious melodies and spirituals. All sections of the orchestra were firing on all cylinders from the first bar, but special honors go to the killer xylophone.
The picturesque set, a wooden skeleton of the once genteel, now run-down, residences occupied by stevedores and fishermen, is beautifully lit to evoke the different times of the day. It revolves to reveal the boats at the waterside. Both design and direction seem to aim for a benign realism, although there were moments of heightened drama, such as when Porgy kills Crown. The large cast is directed to go about their daily business, but the choruses have a stand-and-deliver feel.
The church picnic needed more dynamic choreography, the hurricane scene more differentiated blocking. The sameness extends to the costumes, which retain their attractive earth tones throughout. Not even the picnic merits a Sunday best palette. More detail and variety would have enhanced the performance, which, despite sensible cuts, was close to three hours long. However, the singing was the thing. Conductor: James Gaffigan.
Porgy and Bess Ensemble. Netherlands Philharmonic Orchestra. The very setting exudes the shabby, sturdy spirit of Italian Romantic opera. But, when not cluttered by the shambling male chorus think of the Penzance police force in full black body-armor , it does offer a decent platform for melodrama: ragged, foreboding Conklinesque walls, central altar-like platform, a sharply raked stage overhung by a gargantuan sanguineous moon-shape.
The musical side is well supported by the Seattle Opera house-band under the rather too tasteful baton of Carlo Montanaro, but Trovatore is nothing without the right voices, and with a few caveats, the ones we hear more than make the grade. And then there is Angela Meade. I can add nothing to the encomia that more distinguished critics have awarded her. She has only deepened as an artist since her dazzling Met debut as Elvira in Ernani. I do not believe there is another soprano living who can touch her in this repertory: her mere presence at Seattle Opera, miles from her birthplace, seemed a miraculous intervention to me, and the audience on Sunday afternoon, thirsty, nay parched for this kind of taste and artistry and presence, provided her the appropriate hosannas.
I must, sadly end this rave, as always, with a boo. As always, Marion McCaw Hall casts its stifling veil over every singer performing on its stage. As the Aiden Lang era dwindles to its close, it is more than time that the Opera board confront its biggest challenge yet: the company now has the modern, unified office and tech shop it has needed since the beginning. Now it must face its ultimate challenge: the hall it performs in. Seattle Opera Chorus, John Keene, chorusmaster.
Seattle Opera Orchestra, Carlo Montanaro, conductor. His repertoire now encompasses roles, with almost 4, career performances. It is a pleasure to support them and I am honoured to accept the Fellowship of the Opera Awards Foundation. No other singer has ever had a career that comes close to matching his.
The Awards aim to raise the profile of opera as an art form, to recognise and reward success in opera and to generate funds to provide bursaries for aspiring operatic talent from around the world. Judging of the International Opera Awards is carried out by a jury of industry professionals headed by Opera magazine editor John Allison. The Opera Awards Foundation was founded in by Harry Hyman and John Allison who recognised that there were many artistically talented individuals whose potential was not being nurtured to development.
The Foundation awards annual bursaries to aspiring operatic talent. There are no restrictions on age or nationality, nor is support limited to singers: applications are encouraged from any artist working toward a career in opera, who needs financial support to achieve their career goals. Early on she took up a parallel career as an opera director, debuting at Teatro Bellini in Catania.
Future engagements include the Grange Park Festival, London. Rosetta was appointed the Associate to the Artistic Director in I have a great passion for the Festival and the people who make it possible. My vision will be to preserve its great tradition while at the same time, bring a touch of new breath to it. Opera as life, then. There are few, surely, who would deny the connections between life and art.
The director re-imagines the opera as a fervent dream - at times a psycho-sexual fantasy - in the mind of Tchaikovsky. Aleksandrs Antonenko as Hermann. Photo credit: Catherine Ashmore. There was no escaping the non- rhythmic air-beating. Felicity Palmer as Countess. And, it should be noted first and foremost that Stoyanov sang the latter role beautifully, injecting dignity and gravity into the surreal and hyper-real bizarreness of the production, and communicating real human feeling in a production where exaggeration, excess and subversion are the norm.
Tchaikovsky turns up in every scene. The design is no more coherent. Which century are we in? Satyrs-cum-San Sebastian arrive, their modesty protected by loin cloths, their bodies pierced by quills what else? Distorted glass reflects the auditorium back at the audience. Virginia Woolf essayed a similar essay with shards and fragments at the end of Between the Acts, but on this occasion the general response seemed to be annoyance and alienation rather than discomforting complicity.
Such redundant excess left one feeling rather out of breath. Elsewhere, things were more uneven. Pappano found bold orchestral colours and strokes - trombones, celli, harp all came effectively to the fore; and the overall sweep was persuasive.
The expanded ROH Chorus were on fine form, but I got fed up with their taunting toasts to Tchaikovsky, tumblers of chilled water sloshing with impure infection - drink up your cholera! There are no cards, no supernatural horror, no real human love. Strozzi was undoubtedly not the only woman participating in music-making and producing her own compositions during the seventeenth century. Excepting the slightly older Francesca Caccini c , Strozzi seems to have been one of very few women of the period who pursued a professional career as a composer.
Conducting some preparatory research before this performance, I was wryly amused to come upon an article by scholar Judith Tick written in , in which she reflected on the publication twenty-five years earlier of Women Making Music: The Western Art Tradition, , which she edited with Jane Bowers. There was bosomy Barbara Strozzi, front and center.
Born in , in Venice, to poet and opera librettist Giulio Strozzi and his housekeeper, Isabella Garzoni, Strozzi was formally adopted by Giulio in Her father was one of the most influential Venetian literati of the first half of the seventeenth century. A member of the Accademia degli Incogniti Academy of the Hidden Ones , he was at the cutting edge of the radical development of new styles and forms of musico-dramatic expression, and worked with many composers, including Monteverdi.
On October 12, Barbara published Il Primo de Madrigali a due, tre, quattro e cinque voci, setting texts by her father. This was the first of eight volumes of vocal works - chiefly secular madrigals, arias and cantatas - which she would publish over the next twenty years, and it was largely from this first volume that the OAE drew the items which comprised the first half of their programme.
What struck me most was the variety and adventurousness of the madrigals presented. In the dedicatory note to her Op. If she did not have much optimism about the likely reception of her work in , by she had achieved renown and acceptance - works by her appear in collection alongside Francesco Cavalli, Horatio Tarditi, Maurizio Cazatti and others - and these madrigals showed why. They were performed with vivid expressiveness by the singers and instrumentalists of the OAE, too; a handsome ensemble sound was formed from strongly characterised individual voices and the carefully observed nuances of instrumental composition and texture made for considerable refinement.
Mary Bevan and members of the OAE. Photo credit: Viktor Erik Emanuel. So, Monteverdi gave the women the last word. The play first seen in has been adapted numerous times, with its title usually shortened in English to The Visit. Notable versions include a film with Ingrid Bergman and, more recently, a musical with Chita Rivera. The recordings, like the live performances, are solo cello with drone. His most recent CD, called Illusions, was described by the St.
John's Sentinel as "the soundtrack to a dream voyage". Early on in his musical career, Hurst composed and recorded several film soundtracks in different styles and appeared as a studio musician on numerous albums. These experiences, as well as travels to Japan, Cuba, Spain, Greece and other places around the world, have contributed to his musical inspiration.
Adam Hurst began playing cello at the age of eight. These teachers imparted technique and musicality with western classical music. This training was essential to the original music he now creates. Hurst has taught privately as well. He began teaching lessons when he was still in highschool and did so throughout college.
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I turned on Nightfall, when I started writing this post, and now I am listening to the second track,of his release Festivale one of his gypsy sounding tracks! Hurst who calls Portland, Oregon home has released 13 albums. In addition to that yeah right!
Hurst studied cello at Skidmore College while in highschool and Brown University while in college. He taught cello at Providence College as an adjunct from You catch your breath, transfixed, afraid that if you breathe it might fade and dissolve. Cello music!! So I turn on Nightfall and was immediately entranced by his music!
I turned on Nightfall, when I started writing this post, and now I am listening to the second track,of his release Festivale one of his gypsy sounding tracks! Hurst who calls Portland, Oregon home has released 13 albums. In addition to that yeah right! Hurst studied cello at Skidmore College while in highschool and Brown University while in college.
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