Oberon's Glade

Author: Philip Gardner

  • Parsons Dance @ The Joyce ~ 2025

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    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 by Paula Lobo

    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.  

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    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.    

    In The End Photo by Steven Pisano

    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

  • Jadwiga Rappé Has Passed Away

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    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.

  • 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:

  • Irene Dalis as The Nurse

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    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

  • Dame Sarah Connolly/Berlioz

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    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.

  • Beth Taylor @ Carnegie Hall

    The English Concert

    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.

  • Remembering Sixten Ehrling

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    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.

  • Maureen Forrester/Kindertotenlieder

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    The great Canadian contralto Maureen Forrester sings Gustav Mahler’s Kindertotenlieder, which she recorded with the Boston Symphony Orchestra under Charles Munch’s baton in 1958.

    Listen here.

  • Bach ~ Magnifcat

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    Nicholas Harnoncourt leads Concentus Musicus Vienna and the Arnold Schoenberg Choir in a performance of Bach’s Magnificat in D-major given at the Kloster Melk, Austria, in 2000.

    The soloists are Christine Schäfer, Anna Korondi, Bernarda Fink, Ian Bostridge, and Christopher Maltman.

    Watch and listen here.

  • @ My MET Score Desk for the New AIDA/3rd of 3

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    Above: Elīna Garanča and Brian Jagde as Amneris and Radames; a Ken Howard/MET Opera photo

    ~ Author: Oberon

    Sunday April 27th, 2025 matinee – Two of the opera world’s brightest stars joined the cast today for the first of four Metropolitan Opera performances of Verdi’s AIDA, concluding this season’s run of the new production: Elīna Garanča, who had recently withdrawn from some European performances but who thankfully made it here to sing for us, was Amneris this afternoon, and the great Mongolian baritone Amartuvshin Enkhbat, whose Met debut as Germont in 2022 was truly impressive, as was his Amonasro this afternoon. Both of these singers came to worldwide recognition after participating in the Cardiff Singer of the World competition, the mezzo in 2001 and the baritone in 2015.  

    The only aspect of today’s performance that I wasn’t looking forward to was the presence on the podium of Yannick Nézet-Séguin, whose fast-and-loud, brass-happy conducting has spoiled several Met performances for me. 

    After a the opera’s expressive prelude, superbly played by the MET Orchestra, the huge voice of Morris Robinson drew us immediately into the story. As Radames, the stentorian tenor sound of Brian Jagde responded to the hint that Robinson/Ramfis had just dropped with an urgent recitative and then commenced the “Celeste Aida” which was taken a bit faster than usual; the tenor’s massive top notes immediately impressed the crowd, winning Jagde enthusiastic applause: with this man in command, the Egyptians were sure to win the coming battle.

    Ms. Garanča as Amneris enters, immediately making a lovely vocal impression as a lyrical princess; in her elegant phrasing, her every note spoke of her deep affection for Radames. A dulcet clarinet solo introduces Angel Blue’s Aida. The orchestra was sometimes too loud during the ensuing trio.

    Krzysztof Bączyk immediately made an excellent vocal impression as the King, as did the clear-toned Messenger of Yongzhao Yu. “Su del Nilo” felt a bit rushed, but Mr. Bączyk and Mr. Robinson traded bass sonorities to fine effect. Ms. Garanča chimes in…but from the pit, a N-S noise fest is developing. Angel Blue soars above the ensemble, then immediately commences “Ritorna vincitor!” in which Aida’s dilemma is introduced: she is torn between her love for Radames and love of her homeland. Some nice, chesty resonances underscore her anguish, though her topmost range seemed a bit tight. Her lyrical, prayerful ending of the aria was truly beautiful.

    As the action moves to the Temple of Vulcan, Tessa McQueen’s offstage Priestess is too far upstage to make an immediate impression but soon she is moved to a more congenial spot from which to display her attractive voice. There are lovely harmonies from the priests, and then ballet commences, only to have the music’s beautiful sense of calm (played with nice rubato touches) spoilt by someone’s coughing fit. Morris Robinson’s fabulous introduction to the consecration ritual, and Mr. Jagde’s heroic response, soon fall victim to over-playing from the N-S pit, nearly swamping the voices. 

    Bringing the house lights up a bit prior to the ensuing boudoir scene really shatters the mood; there’s a late seating, with latecomers stumbling about in the near darkness whilst people who’d arrived on time think it’s a bathroom break. Cellphones come on throughout the hall. Chatter spoils the ensuing opening harp solo as the women’s chorus seeks to restore the mood after this intrusion of reality.

    Ms. Garanča’s thrice-voiced, dreamy summoning of her beloved is so seductive. After the ballet interlude, the Egyptian princess baits her Ethiopian rival. Sparks fly as their rivalry is revealed; Amneris has the upper hand, and Ms. Garanča’s “Figlia de’ Faraino!” is blisteringly set forth. Some of Ms. Blue’s higher notes are a bit harsh, but her touching prayer at the end – “Numi pieta!” – sounded gorgeous.

    The Triumphal Scene is grandly done, orchestra and chorus blazing away – interspersed with more lyrical passages – and then the ballet boys bring down the House with their bold, stomping dance. Mr. Bączyk sounds splendid as the King greets the conquering hero: Radames. The prisoners of war are brought in, among them the incognito King of Ethiopia – Aida’s father, Amonsaro – in the person of Amartuvshin Enkhbat. N-S lets loose the brass, but the baritone is unfazed, singing handsomely. Angel Blue produces a shining top-C. Now Mssrs. Robinson and Bączyk exchange bass sonorities as they debate the fate of the prisoners…of course, the priest wins. Bączyk now gives his daughter’s hand in marriage to Radames, with Ms. Garanča revelling in her triumph. The concluding ensemble was a bit messy. 

    On the banks of the Nile, Morris Robinson again impresses as he leads Amneris to a all-night prayer vigil. Angel Blue phrases the “O patria mia” poetically, her lyricism to the fore. She doesn’t float the top-C, but she makes much of the ensuing lament with a neat crescendo and then a hushed “…mai più…!” 

    Amartuvshin Enkhbat is authoritative and truly impressive as he tells his daughter what she must now do in the name of her country. His wonderful phrasing as he manipulates her leads to some very fine cantabile passages from Ms. Blue. The orchestra again overplays, but the baritone rises to the challenge with an epic “Non sei mia figlia!” Ms. Blue’s anguish is palpably voiced, and her father responds with the inspiring “Pensa che un popolo, vinto, straziato!”; here the orchestra gave truly marvelous support, making it a highlight of the performance.

    Radames now appears, and Ms. Blue treats us to a very seductive “La tra foreste vergini” as she tempts him to run away with her. The soprano’s turnings of phrase here is most inviting. But Mr. Jagde is unsure…his dolce B-flat as he ponders his choices was magical indeed. There was an intrusion by someone in distress in the audience, which killed much of the atmosphere as the duet moved to its end; Ms. Blue’s closing B-flat was short and unsteady; then the stretta was on the wild side, the soprano’s top not really assured. Amonasro’s reappearance sealed the baritone’s success, and then Mr. Jagde nailed his “Io resto a te!” with amazing power and thrust.

    Elīna Garanča now took command of the Met stage with a Judgement Scene in which every word and note counted. Her “Vorrei salvarlo…” was full of hesitant hope, and then the chilling orchestral passage, ending on a splendid clarinet low note, brought Radames before her. Simply gorgeous clarinet playing underscored Ms. Garanča’s beautifully desperate plea, to which Mr. Jagde responded with a great outpouring of tone. Garanča’s brilliant “Morire!!?” was phrased immediately into her ensuing entreating passages. Jagde silenced her with a massive B-flat. Tension reaches a boiling point, Garanča’s voice rising to two scorching B-flats as her desperation overwhelmed her.

    Radames is led away, and Ms. Garanča’s lament is hauntingly sung, her anguish over her jealously having caused Radames’s downfall marked by a pianissimo intoning of “…io stessa lo gettai!” fading to a whisper. Morris Robinson’s chilling calls of “Radames!” must still be echoing somewhere in the univese. Soft drum rolls ominously underscore the ensuing trial, with Robinson/Ramfis becoming increasingly impatient.

    Harsh accents from the orchestra underscore the death penalty prouncement, the deep brass voices terrifying. Ms. Garanča’s pleas are in vain; in her fury she curses the priests, soaring to a climatic top A. A prolonged ovation ensued, the crowd cheering the beloved mezzo in a well-deserved salute.

    The final scene opened with Mr. Jagde’s doom-ladened phrases of farewell to Aida. When she steps from the darkness of the tomb, the great farewell duet commences. Here one wished for more piano singing from Ms. Blue but overall the duetting voices were wonderfully expressive and moving. Then Ms. Garanča’s solemn invocation of peace lingered on the air as darkness fell.

    The ovation when Elīna Garanča took her first solo bow was genuinely tumultuous; a bouquet flew onto the stage, and the comely Elīna literally prostrated herself in response to the waves of love pouring across the footlights. 

    ~ Oberon