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Sondra Radvanovsky recital or the triple queen of diminuendo takes London by giggle (Cadogan Hall, 16 March 2017)
It’s hard to believe this was Radvanovsky’s debut as recitalist in London, but I think there are two types of American singers: some who become household names there but rarely visit these shores/Europe and some who seem comfortable on both sides (those are the ones with Mozart/Strauss/Baroque in their rep and Radvanovsky seems to miss this).
Sondra Radvanovsky soprano
Anthony Manoli piano
Vivaldi
Sposa son disprezzata from Bajazet
Bellini
Per pietà, bell’idol mio
La Ricordanza
Ma rendi pur contento – she actually quizzed us about which one of his own arias Bellini ripped off in La Ricordanza 😉 do you know?
Strauss
Allerseelen
Befreit
Morgen!
Heimliche Aufforderung
I don’t even know how well the event was advertised because I only learned about it via the Barbican newsletter last week, right around the time one of my shifts was moved from Thursday to Sunday. A time comes in an opera lover’s life when one doesn’t go to a show just because they worship a performer. Sometimes one goes because someone considered an important contemporary voice should be experienced live.
I’ve not been a fan and this performance did not make me one. But there’s no denying Radvanovsky’s qualities, regardless of what one wants in a performer. For fans though, this must’ve been one of those nights memory would return to often.
To begin with, she appeared very excited to be here. Enthusiasm always helps. Then there was the curiosity of American singers. There is something specific about their modus operandi, different from how the Europeans do it. The Europeans would mostly just toss together a bunch of songs/arias that show off their qualities, mix in their personal pizzaz – which quite often means throwing caution to the wind – and call it a day.
The Americans curate their shows – carefully. Everything has an explaination and is in place with the specific intent of winning the audience over. Hell, she even plugged her upcoming Met Norma! – though considering her encores, Casta diva was conspicuously absent. I can’t say it bothered me (it’s her space to entertain, and she was entertaining1) but this is not something I’ve ever heard from European singers. We also learned she will be debuting Andrea Chenier in Barcelona, so the places between songs functioned like chirpy tweeter moments.
This chattiness is another American thing. When speaking and walking about she constantly reminded me of Joyce DiDonato. I don’t know if they are friends, but I could easily imagine them have long convos over coffee (“… that time in Prague when-“, “Oh, but let me tell you what happened in Madrid! It was the weirdest thing!” etc.).
It is one of those weird things. Radvanovsky is one of those singers who is built, looks and sounds like a tragedian when singing but speaks like a soubrette (in content as well). After the dark or very covered sound (it’s one of her peculiarities so she probably doesn’t do it on purpose) during the songs/arias she just chimes in with a giggle.
When presenting the Vivaldi aria she made a face best represented by this ascii art:
¯_(ツ)_/¯
(she said: I just like it! which could be a candid moment of pure music joy or hey Baroque fans, don’t judge! – because the way she and Manoli attacked it was with a Liszt-type feel; possibly both – but it was not the gesture of a tragedian). Again, I didn’t mind it, but it was quite different than most of my previous recital experiences.
As I mentioned in the title, diminuendo – the woman knows how to tackle this (as well as crescendo, but one could argue that’s easier). Her technique seemed simply fabulous to me. From that angle this was a performance to take voice students to: watch and learn, this is the kind of solidity you need to aim for and you’re going to have a long and fruitful career. Her control of dynamics and projection was wonderful through the night and her flights to the top of her voice illuminating (metaphorically and literally). The voice has a very alluring opacity at the bottom – let’s say indigo, like her second dress of the night – and an interesting rock solid brightness without ping at the top but the middle (I’d guess right around the area where mezzos tend to have the passaggio) was occasionally marred by cloud.
On the other hand, I can’t tell you that I connected much on an emotional level, this side of the Barber set and Vissi d’arte. It might be due to a difference in personality or just that I constantly sensed her position herself for best technical results rather than letting go enough for my liking. Even when she let rip (often, especially after the interval) – something the size of her voice easily allows for – it seemed strangely contained.
The audience responded very warmly to her coaxing, though, even when I thought she was going a bit far with the please like me attitude. American singers are not shy about their ambitions. But, come on, you’re Radvanovsky, not a beginner, of course people will like you if you drop by. Now, like she said she would like to, she could start with some Strauss – perhaps Ariadne? – and call again.
INTERVAL
Liszt
S’il est un charmant gazon
Enfant, si j‘étais roi
Oh! Quand je dors
Barber
Hermit Songs – At Saint Patrick’s Purgatory
St Ita’s Vision
The Crucifixion
The Monk and His Cat
The Desire for Hermitage
Giordano
La mamma morta from Andrea Chénier
The surprise of the night was the Barber set. I felt it was the best suited to her voice, like she had reached her true home – and made me love it in the process.
Seeing as Barber wrote it for Leontyne Price (check them both out here), she talked a bit about fangirling Price. Apparently she decided to pursue an opera career after listening to Price sing Verdi. I can’t blame her, I think Price does the phattest maledizione there is (but the whole thing is worth it):
Yes. That last note was held exactly as long as it should’ve been. Even if it’s an old recording, you can tell how well her voice holds against the orchestra.
So whilst Radvanovky isn’t the second coming of Price, she does inhabit a similar vocal space.
ENCORE:
Song to the Moon Rusalka
I could’ve danced all night My Fair Lady – and she could’ve!
Io son l’umile ancella… Adriana Lecouvreur
Vissi d’arte Tosca
4 encores after all that – Americans and their work ethic 😉 There’s never enough Adriana Lecouvreur in the recitals I attend, so I was right happy, but to be fair Vissi d’arte turned out to be surprisingly moving2. Perhaps because it was the last piece she dropped a bit of that control – and it was a good thing. What we learned tonight? Going out of your comfort zone can be surprisingly rewarding.
- I’d just finished a set of night shifts the morning before the performance and was afraid I’d doze off but I was far from it. Good job, SR! ↩
- Nice combo, two arias about living for art – prefaced by her comment that the world right now needs more music and less… all that stupid crap (she didn’t put it like that). ↩
Exciting Il Vologeso (Cadogan Hall, 28 April 2016)
Any doubts about whether Jommelli’s 1766 Il Vologeso needed a belated UK premiere at all were dispelled on Thursday night. Indeed, Ian Page and the Classical Opera orchestra showed such care and enthusiasm for it that this ended up being one of the most entertaining (post) Baroque events I have heard/seen in London in the past few years.
Lucio Vero: Stuart Jackson
Vologeso: Rachel Kelly
Berenice: Gemma Summerfield
Lucilla: Angela Simkin
Flavio: Jennifer France
Aniceto: Tom Verney
Conductor: Ian Page | Classical Opera
Though perhaps it needed a bit (more) of editing, Jommelli’s work was made a definitive case for by Ian Page & Co. who used an entire palette of colours and accents to bring out the many twists and turns and ever changing moods. There were lovely interplays between sections of the orchestra throughout, with the viola da gamba, oboe and horn especially “on”. I was very tired after travel delays and not overly familiar with the work and still barely flagged at all.
The libretto is a tutti frutti mixing favourite period tropes such as the benevolent ruler who must fight his base emotions (he is, as Dubya would put it, a flip-flopper), the 18th century heroine who has generally high moral standards and is steadfast in love, ready to sacrifice her happiness and/or life for her husband, the said (also steadfast) husband, a freedom fighter who is, nonetheless, equally as concerned with saving the damsel in distress (his wife/lover), the secondary character/schemer who has his eyes on the virtuous heroine and whose schemes are eventaully twarted as true love prevails in the end. The music is a lot more exciting, with several moments of palpable suspense (accompanied recits and ariosos) if still built on a typically Baroque structure of recit/aria/recit.
Stuart Jackson1 as the amourous Lucio Vero shone as an exceptionally expressive singer/actor, clearly having a ball with his role, now putting smooth moves on Berenice, now spewing anger as his “good will and generosity” is repeatedly disdained by the stubborn couple Vologeso-Berenice. It’s fair to say that he electrified all the other singers into trying to match his level of involvement.
Rachel Kelly in the title role was especially ready to raise to Jackson’s level and their characters’ interactions were the most interesting of the evening, with Lucio and Vologeso tearing at each other with gusto. Which ran about 7 times along the lines of:
Lucio Vero: you are free, noble warrior! Behold my generosity!
Vologeso: freedom means nothing without my wife!
Lucio Vero: savage, you’re abusing my good will! Guards! Take him back to his cell!
later:
Lucio Vero: you are free, noble warrior! Behold my generosity!
Vologeso (looking all bristly): what do you want to do with me? Make up your mind already!
Lucio Vero: guards! Take him back to his cell!
Gemma Summerfield had quite a bit to sing as Berenice, Vologeso’s wife, much coveted by Lucio. Berenice’s contempt for Lucio was very clear through the night. She had some of those woe is me ariosos to navigate and did that with much aplomb. Her voice stood out as larger than the ones around her; it had a very pleasing warmth to it and a solid body which I suppose it going to work nicely in Mozart.
Jennifer France as Flavio, Lucio’s army commander, had the honour of singing my favourite Vologeso aria, Crede sol, which turns out to be one of those Baroque-simile arias about how those who could never imagine cheating on their partner can’t believe there are people who jump from flower to flower like butterflies 😉 It is a difficult aria and she coped very well with the… bounciness of the insect. Yes, that’s right, Lucio Vero’s army commander singing about flitting butterflies 😀
Thadieu thought she made good use of the ppp. It’s worth popping over to her blog post on Vologeso for a more detailed description of the evening.
As it appeared everybody was running late and the Cadogan Hall rather cramped foyer was busy (and perhaps a bit overdressed?) as usual, we only briefly ran into Leander, Baroque Bird and friends. It’s also not the easiest venue to get out of because the foyer is in the basement and you have to go up the stairs to get to the main hall. That being said, it’s a good, nicely expanding auditorium. I can’t complain too much since we have more than one smaller scale venue (capacity: 950) in London when other cities have none. They should definitely look into semi-staged operas there.
- You can catch him soon in the next Classical Opera outing, Don Giovanni (as Don Ottavio). ↩
Good times at the opera in 2015
Chez dehggi, 2015 shall go down as the year of smashing opera trips abroad and the full Monteverdi. I’ve also visited new (to me) local venues such as the Roundhouse and Wanamaker Playhouse at the Globe. I had a boatload of Baroque and recitals from some of my top favourites but all periods were included. Also I had the chance to catch Operalia in its first stop to London. The one glaring miss this year was Glyndebourne.
January
L’Orfeo | Roundhouse: very moving performance and surprisingly fitting venue. It’s not for nothing I started the year on a Monteverdi high, I went on to see live his other two great works, in chronological order no less.
February
Farinelli and the King | Wanamaker Playhouse: a play with music, kinda like an opera but with less music, though the music got the most applause, so… 🙂
L’Ormindo (Cavalli) | Wanamaker Playhouse: not quite Monteverdi but silly as hell
March
VK Handel Recital | Karlsruhe Handel Fest: when the Baroquemobile shifts into turbo gear
Rise and Fall of the City of Mahagonny | ROH: film noir meets mezzos
Semele | London Handel Festival: if I persist in listening, Sem’le I shall adore
Catone in Utica | London Handel Festival: new gen gets whimsical with pasticcio
April
St Matthew Passion | Barbican: the Passion of Mr Oboe and the Coughing Squad
Ben Johnson | Wigmore Hall: Mr Oronte sings zany stuff
JDD Masterclass | Milton Court/Barbican: shut up and learn to trill!
Adriano in Siria (JC Bach) | Britten Hall, RCM: a traditional production!
Il turco in Italia | ROH: introducing Aleksandra Kurzak’s chutzpah
May
Roschmann/Uchida | Wigmore Hall: when very serious and not so serious meet
VK’s Cleopatre | Stadscasino Basel: in which la forza del cleavage defeats dehggi
La forza del destino | Bayersiche Staatsoper: la forza del bad libretto vs. the Temple of Music
Krol Roger | ROH: mesmerising stuff
Sara Mingardo | Wigmore Hall: wrist slashing music done with elegance and… calm
Jessica Pratt | Wigmore Hall: major fun but should come with silencer
June
La voix humaine/Bluebeard’s Castle | Wiesbaden: women battling demons on a hot, sunny day
Queen of Spades | ENO: the least suspected mezzo tour de force (thanks (I think?!), David Alden)
Don Giovanni | ROH: all hail La Roschmann’s Donna Elvira!
July
Guillaume Tell | ROH: Gerry Finley acting mighty morose
JPYA Summer Performance | ROH: mixed bag with young singers
Operalia | ROH: high quality contestants
Roberta Invernizzi | Wigmore Hall: finally fearless Invernizzi
August
Daphne | Grimeborn: unplugged Strauss
September
La voix humaine/La dame de Monte Carlo | Wigmore Hall: la voix de la merveilleuse dame Antonacci
Adriano in Siria (Pergolesi) | Cadogan Hall: Farnaspe in love
Orphee et Eurydice | ROH: the Monteverdi Choir tames the furies
Il ritorno d’Ulisse in patria | Barbican: il triunfale ritorno d’AAC to Barbican
October
Ariadne auf Naxos | ROH: Mattila does it again
Leo Nucci | Cadogan Hall: old skool Italian
Xerse (Cavalli) | Theater an der Wien: Emmanuelle Haim and Le Concert d’Astrée at work
L’incoronazione di Poppea | Theater an der Wien: Metastasio, tornado of concepts and chatting about opera
November
Franco Fagioli recital | Wigmore Hall: sweetly done and Dopo notte!
December
Orontea (Cesti) | Wigmore Hall: shambolic early Baroque
Hard to wish for more excitement after this romp but, as usual, you never know. What I do wish is to hang out again with the fine folks I had such good opera times this year. Half the fun was you 🙂
Nucci’s game of three halves (Cadogan Hall, 13 October 2015)
A week before that eventful trip to Vienna I went to see Leo Nucci with chamber accompaniment. I liked him in Nabucco two years ago and it’s good to visit other places beside your comfort zone on occasion. There’s something to be said about the tried and true – other things tend not to seem quite as sparkling – so here we are, with an overdue writeup.
You might wonder if it is necessary to write about everything one sees. I have on occasion asked myself the same question. My conclusion is in principle yes, why else run a blog? I very rarely go see something about which I have no idea whatsoever. If I see something I want to talk about it, to the best of my ability.
I like baritones in theory – low voices ahoy – but I am not very familiar with their repertoire outside of Mozart. I also love sung Italian in general and it’s not that often you hear a native speaker (saying that, he’s the fourth Italian singer I heard in concert this year) but for Verdi and them you want the typical Italianate sound.
Leo Nucci, baritone
Paolo Marcarini, piano
Pierantonio Cazzulani, violin
Lino Pierantonio, violin
Christian Serazzi, viola
Massimo Repellini, cello
Davide Burano, harp
Donizetti, Poliuto – Di tua beltade imagine
Bellini, Beatrice di Tenda – Qui mi accolse
Donizetti, Don Sebastiano – O Lisbona, alfin ti miro
Marcarini, Le donne di Donizetti: chamber versions of Donizetti ladies’ arias
Verdi, Macbeth – Mal per me m’affidai
Verdi, Non t’accostare all‘urna
Verdi, L’esule
Nucci needed quite a bit of time to warm up. To start with there was a whooping amount of vibrato especially at the top, whenever he took flight. On top of that I don’t know Verdi’s romanze, I’m not familiar with Poliuto and barely with Macbeth, I haven’t listened to Beatrice in a long time and I really don’t like Don Sebastiano, so this first part was a bit lukewarm for me. The upshot was that his pianissimos were lovely. He sang the romanze in operatic voice but Non t’accostare all’urna was quite moving in that dark over the top Verdi manner (which is to say nightmares, palpitations and soaked pillows). Also considering the accompaniment it was quite a full sound.
Interval
Verdi, I due Foscari – O vecchio cor, che batti
Verdi, I vespri siciliani – In braccia alla dovizie
Marcarini, Le donne di Bellini: chamber versions of Donizetti ladies’ arias; my complaint here was the piano in Casta diva, it felt like it was breaking the mood.
Rossini, Guillaume Tell – Sois immobile
Bellini, I Puritani – Ah! Per sempre io ti perdei
Donizetti, La Favorita – Vien, Leonora, a’ piedi tuoi
Eventually Nucci shook off most of the vibrato and by Ah! Per sempre… he was cooking with heartbreaking belcanto gas. Which reminds me, we need more Bellini in London. He does the kind of tearjerkers I can get behind.
Encore
Rossini, Il barbiere di Siviglia – Largo al factotum
Verdi, Un ballo in maschera – Eri tu
– can’t remember… –
Verdi, Rigoletto – Cortigiani, vil razza dannata
By the encore Nucci was properly energised. After the very serious stuff he pulled out all the tricks in the Largo book with a glee that belied his years – and that very serious stuff, when he was mostly still and stern/pained looking. The trills weren’t very precise but the characterisation was hilarious, which was such a change I wondered if he hadn’t sent a doppelganger out for this number. But he was immediately back to murderous baritone territory with a riveting Eri tu. Nice angst from the strings (which were very good in general). I was quite surprised how much energy he had for these long, difficult encores. Rigoletto is one of his signature roles so he was unsurprisingly intense and once again Verd’emotional. It’s hard to feel for Rigoletto instead of thinking bastard got his due but both Verdi and Nucci tried very hard to pull at heart strings. I was moved all right.
Nucci himself appeared very moved by the warm reception, which might’ve been the reason he sang a setlist the size of rock band’s. I didn’t think he was going to sing so many encores but he kept coming back 😉 Puts younger singers to shame. He sang, he talked, he might’ve even hidden a tear or two. He has quite a particular type of charisma (you might remember I occasionally pick this from singers), surprisingly subtle for a dramatic singer.
I had a seat at the back of the stalls and it seems like the audience there is very different from the one at the front. I was surrounded by chatterboxes – Italian in front and German (or thereabouts, judging by the accent) behind. The “Germans” talked very technically, praised Nucci a lot… and left at the interval. I didn’t get it but hey. The Italians chatted about their daily business and texted well into the show. On my left was a local gent whose feet smelled like a platoon’s socks after a 12 hour march through mud. He was very well behaved otherwise – until he elbowed me on the head whilst fussing with his coat during the applause. Then I dropped my trusty lozenges (Cadogan Hall can be a bit dry)…
So you may conclude, a bit meh all in all? It was better than meh, patchy but with some very enjoyable moments and a proper, unfussy baritone voice. Though I’m worried about Vologeso now as I will be sitting in the same seat. Maybe I’ll sneak in air freshener.