Lisette Oropesa and Lawrence Brownlee in a duet from Bellini’s I PURITANI, from a performance in March 2025 at l’Opéra Bastille in Paris.
Watch and listen here:
Author: Philip Gardner
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Josef Jeongmeen Ahn ~ Pierrot’s Tanz-Lied
Baritone Josef Jeongmeen Ahn sings Pierrot’s Tanz-Lied from Korngold’s DID TOTE STADT. The pianist is Nadia Kisseleva.
Watch and listen here.
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CMS: Beethoven Quartet Cycle ~ Finale
Above: the Calidore String Quartet, photo by Frank Impelluso
~ Author: Ben Weaver
Sunday May 18th, 2025 – Chamber Society of Lincoln Center reached the end of its 2024-25 Beethoven String Quartets cycle, performed by the the outstanding Calidore String Quartet. For the sixth and final concert the quartet – violinists Jeffrey Meyers and Ryan Meehan, violist Jeremy Berry, and cellist Estelle Choi – performed Beethoven’s quartets Nos. 14 and 16.
String Quartet No. 14 in C-sharp minor, Op. 131, composed in 1825-1836, and has been studied and individually praised by the likes of Richard Wagner, Robert Schumann, and Franz Schubert – who had it played for him privately a week before his death. Composed in seven movements played without a break, it opens with a somber melody on the first violin. The rest of the musicians enter one by one, the music remaining austere and calm, perhaps reflecting Beethoven’s deep faith as it resembles parts of his earlier Missa Solemnis. Wagner once wrote that this was “the saddest thing ever said in notes.” The Calidores played this beautifully, with extreme care and dedication. The music shifts to a playful dance and then back to darkness, and then back again and again. The playful Scherzo (marked Presto), with its charming melody, zooms around like a playful puppy, lovingly played by the Calidores. There’s a memorable moment towards its conclusion where all four instruments play pianissimo in their highest registers, then the volume is quickly raised, which felt like being suspended in zero gravity and then quickly falling down. The Finale is a violent march with occasional soaring melodies to break up the clouds.
The Quartet No. 16 in F major, Op. 135 ended up being Beethoven’s almost-last composition for the string quartet. (The only thing remaining was the new final movement for Quartet No. 13, which ended up being the very last piece Beethoven ever composed.) It opens once again with a somber melody, but unlike the darkness of the earlier quartets, this one is simply mournful and lovely. The Calidores held the audience in thrall with the beauty of their playing. The second movement, Vivace, is wonderfully chaotic, as if ready to unravel at any point. The following Lento assai, cantabile e tranquillo is Beethoven at his most lyrical, full of stops and starts, like breathing of a dying man. And the Finale: Grave, ma non trope tratto, begins ominously and violently, but ends on a lighter, even triumphant, note.
The terrific musicians of the Calidore Quartet undertook a monumental challenge, performing all sixteen of Beethoven’s String Quartets in a single season. The works themselves are the Mount Everest of the string quartet repertoire and the challenges are enormous. Beethoven wrote his string quartets in three batches of his life and career: early, middle, and late. They show a profound progress of an artist who became the leading figure of Romanticism, sturm und drang; but also a musician of frequently surprising humor. Mssrs. Meyers, Meehan, Berry, and Ms. Choi combine all the elements needed to bring these million faces of Beethoven to life.
~ Ben Weaver
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Parsons Dance @ The Joyce ~ 2025
Above: the one and only Zoey Anderson in David Parsons’ new solo, Her Gifts; photo by Steven Pisano
Sunday May 18th, 2025 matinee – Parsons Dance at The Joyce with a program of works by Rena Butler, Robert Battle, and the founding choreographer himself: David Parsons.
The program opened with Parsons’ 2005 work Wolfgang, to music of Mozart. Hints of Paul Taylor as well as nods to the classical ballet world are woven into the choreography. Howell Binkley’s emblematic lighting designs – both here and later, in Caught and In The End – are so atmospheric.
Wolfgang (photo above by Paula Lobo) has a beautiful, flowing feeling, with a series of duets giving the dancers ample opportunity to shine (the “either/or” listing of the dancers left me wondering who was who at times). For a while, the dancers lounge on the floor. The adagio brought finely-lit poses, laced with touches of humor. There were vanishing acts, where the dancers disappeared into the upstage darkness. In the light and bright finale, Parsons makes canny use of the music; a series of turns elicited a burst of applause.
A brand new – and stunning – solo, Her Gifts, choreographed by David Parsons to Roberta Flack’s immortal classic ‘The First Time Ever I Saw Your Face’, was a gift from David to the radiant Zoey Anderson. In a striking Judy Wirkula gown, glowingly bathed in golden light, Zoey took complete command of the stage with her hypnotic way of moving: her every step and gesture held the audience under a spell.
The Hunt (2010), is choreographed by Robert Battle to a tumultuous score by the French percussion band Les Tambours du Bronx. I seem to recall being at the studio one afternoon early on in this work’s creative process. Of course, it was a whole different set of dancers in those days.
The Hunt can be danced by either men or women, and today it was a female quartet – Téa Pérez, Megan Garcia Ziminski, Justine Delius, and Joanne Hwang – who took us on this wild ride. Burke J. Wilmore’s lighting bathes the quartet in bloody light; later, saturated colors illuminate the back panel. The dancing is provocative, ritualistic, ecstatic. Pairing off, bodies are dragged about. The pace is relentless, the women so compelling in their moves. The crowd responded with unbridled enthusiasm.
Above: from Rena Butler’s Sheep’s Gothic; photo by Paula Lobo
Sheep’s Gothic, a 2025 creation by Rena Butler opened the evening’s second half. Moody lighting by Christopher Chambers showed us seven dancers costumed by Asha Ama in athletic gear, including knee pads. The “either/or” cast listing (and a prevailing darkness) again kept me from figuring out who was who, but the dancing was impressive throughout.
A cappella choral works by Felix Mendelssohn have an oddly nationalistic air. Offsetting these, music by Darryl J Hoffman creates a sonic tapestry; things speed up, echo effects entice, whimsical elements are introduced as this darkish dancework evolves. The chorale resumes, with some mechanical noises further deepening the nocturnal mood. Hymn-like music and spoken words sustain the atmosphere, but after a while, a feeling of longueurs creeps in. A relaxed beat underpins a spacious ensemble as this enigmatic dance moves to its end.
I cannot count the times I’ve seen David’s signature masterpiece Caught; I first saw this solo danced by the choreographer at Jacob’s Pillow many years ago. Since then, it’s been performed by both male and female dancers, and it never fails to elicit a delirious response from the audience. This afternoon, Joseph Cyranski wowed the crowd with his magnetic presence and dazzling dancing, perfectly timed to give Caught the visual magic this iconic dancework demands.
Above: Joseph Cyranski in In The End; photo by Steven Pisano
David Parsons created In The End – to the music of the Dave Matthews Band – in 2005. It makes a perfect closing number, as all ten of the Company’s dancers join in. Again, Howell Binkley’s lighting is a key element to the work’s appeal. The dancers move thru the Parsons choreography with a mix of lyricism and athletic poise, evoking a celebratory ovation at the end as each dancer rushes on for a solo bow.
~ Oberon
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Jadwiga Rappé Has Passed Away
One of my favorite contraltos, the Polish concert and opera singer Jadwiga Rappé (above), has passed away at the age of 73. Ms. Rappé performed at the most prestigious venues in Europe, Asia, and North America, and she leaves behind more than fifty recordings. She worked with such illustrious conductors as Chailly, Sir Colin Davies, Harnoncourt, Nagano, Janowski, and Antoni Wit.
I first became intrigued by Ms. Rappé’s voice after hearing a recording of her singing in Krzysztof Penderecki’s Seven Gates of Jerusalem – a work in which she had sung the world premiere performance at Jerusalem in 1997 under the baton of Loren Maazel. In 2001, she sang the premiere performance of Wojciech Kilar’s Missa pro pace at Warsaw, conducted by Kazimierz Kord. Works were composed specially for her contralto voice by Juliusz Łuciuk, Piotr Moss, and Krzysztof Baculewski. In 2008, in Prague, she took part in the world premiere of Ladislav Kubik’s Gong ~ Sinfonietta for solo mezzo-soprano, Mixed choir and orchestra, and in July 2011 she premiered Paweł Mykietyn’s Symphony no.3 at the National Philharmonic in Warsaw.
Jadwiga Rappé’s operatic repertoire included works by Gluck, Handel, Ponchielli, Verdi, Wagner, and Richard Strauss. Erda in Wagner’s RING Cycle was her most frequent stage role: she appeared in nine different premiere productions of the cycle at opera houses around the world, and she recorded the role for EMI under the baton of Bernard Haitink. She scored successes as Gaea in Strauss’s Daphne, and as Clytemnestra.
Her discography includes recordings on several labels: BMG Music, Teldec, Erato, Denon, Orfeo, Philips, Decca, Chandos, CD-Accords, and Naxos.
After retiring from performing, Jadwiga Rappé taught at the Fryderyk Chopin University of Music, and later headed the board of the Witold Lutosławski Society.
Ms. Rappé sings the aria “Weh ihnen, dass sie von mir weichen” from Mendelssohn’s ELIAS here.
And here is “Zasmuconej” by Mieczysław Karłowicz.
The contralto sings “Cagion son io del mio dolore” from Handel’s SERSE here.
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Peixin Chen
Chinese basso Peixin Chen has impressed me with his performances as Timur and Sarastro at The Met.
He sings “Gada Meiren“, a Mongolian folk song, here:
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Irene Dalis as The Nurse
The great mezzo-soprano Irene Dalis (above) found her most memorable role as The Nurse in Richard Strauss’s DIE FRAU OHNE SCHATTEN; I was fortunate enough to have seen her in this opera twice at The Met, and both times she simply dazzled in the fiendishly difficult vocal writing whilst creating a vivid theatrical portrait of this mercurial creature.
The Nurse above all is devoted – to the point of obsession – to her charge: the half-human/half-spirit Empress, daughter of the mysterious and omniscient Keikobad. In the opera’s opening scene, the Nurse is visited by Keikobad’s messenger. The Empress has been married to the Emperor, a mere mortal, for one year, but as she still does not cast a shadow – the sign of her ability to bear children – Keikobad plans to re-claim her for the spirit world in three days. The Nurse is delighted, as she very much hates the Emperor; she longs to return to Keikobad’s realm.
The Nurse asks what will become of the Emperor after the Empress is taken by her father; “Er wird zu Stein!” says the Messenger: “He will be turned to stone!” This prospect gives the Nurse even greater satisfaction: “He will be turned to stone!” she repeats. “There do I recognize Keikobad, and bow before him!”
FRAU ~ opening scene – Irene Dalis & William Dooley – Bohm cond – Met bcast 1966
January 23, 2017 | Permalink
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Dame Sarah Connolly/Berlioz
Dame Sarah Connolly sings Hector Berlioz’s La Mort de Cléopâtre at the Barbican Hall, London, in May, 2015, with the BBC Symphony Orchestra, conducted by Sir Andrew Davis.
Listen here.
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Beth Taylor @ Carnegie Hall
The Scottish mezzo-soprano Beth Taylor enjoyed a great success at her Carnegie Hall debut, singing Cornelia in Handel’s GIULIO CESARE with The English Concert.
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Remembering Sixten Ehrling
When I had moved to New York City in 1998 and was working at Tower Records, Maestro Sixten Ehrling came in frequently. He was rather cranky the first time I met him: he did not guess that I knew who he was, and he barked at me that no one on the store staff had offered to help him. I let him cool down for a couple of seconds, then I made a small bow, and said: “You conducted my first RING operas, Maestro!”
From then on, and for years to come, Maestro Ehrling was a customer I always looked forward to seeing. He had a million stories, including tales of how antagonistic the Met musicians were towards him during those RING performances. He taught me how to pronounce the names of the RING characters: “…say ZEEEG-lin-da, not See-GLIN-da!”)
Then there was his tale of a recording session he had scheduled with Victoria de los Angeles on the day after her marriage. A couple of times, I forfeited my lunch hour just to stay and chat the Maestro up.
Maestro Ehrling was married to a former ballerina, a very kind woman with Old World manners. As time went by, the Maestro became increasingly feeble and unsteady. He sometimes came in unshaven, wearing rumpled clothing. Then, for a while, Madame would come in alone to get CDs for him, saying he was under the weather but slowly on the mend. For a few weeks, she too stopped coming in. I sensed that Mr. Ehrling had taken a turn for the worse.
The news came out that Maestro Ehrling had passed away. I wondered if Madame would remain in New York City (I believe they had a daughter living here). Then one day, she came in. She walked up to me with a gentle smile, saying, “I wanted to thank you for always being so kind to Sixten!” I almost burst into tears. She became teary also. There was nothing more to be said. She held out her hand, which I kissed, and then she left.
Oberon's Glade 