Archives
Spring 2015
March 24 | “It must flow like oil.”
What do we mean by “line” in music? The quoted phrase is from Girolamo Crescentini around 1800, and describes one aspect – among many – of the most elusive and necessary quality of interpretation.
March 31 | Opera’s first genius?
If Henry Purcell had not died at 36 in 1695, the history of musical theater would be different – and England might have been in the lead. [All-Purcell programs at Carnegie April 8 and 12]
April 14 | Cav and Pag
Two debut operas by composers who never quite surpassed their first lucky shots; two perfect embodiments of what we call “verismo”; two targets of a century of critical condescension; two feasts of impassioned Italian singing – if you can find the singers. [New MET production opens April 14]
April 21 | Merry Widows in Lands of Smiles
The limitations of Viennese operetta are obvious: fluffy plots, unambitious characterizations, faded social relevance (if any). What is the musical magic that keeps it alive? [MET revival of Die Lustige Witwe opening April 24]
April 28 | Stravinsky’s Progress
Forty years after The Rite of Spring set off riots in Paris with its primitive energy, and several self-transformations later, the cosmopolitan Russian who dominated 20th-century music produced his only full-length opera – a wry pastiche of Mozart and the British comedy of manners. It still managed to be controversial. [MET revival of The Rake’s Progress opening May 1]
May 12 | What’s in a Mazurka?
The longest and boldest series of Chopin’s works packs infinite shades of expression and drama into a little-understood folk dance. [Yevgeny Kissin in recital at Carnegie May 16]
May 19 | Nicolai Gedda at 90
The beloved Russian-Swedish tenor’s birthday actually falls a bit after our series concludes, but this is a good occasion for reviewing the career of a singer whose voice brings smiles every time we hear him in class – perfect style and unmistakeable clarity whether singing in French, German, English, Italian, Swedish, Russian, Polish, Spanish, Czech, or Norwegian.
May 26 | The Amazing Scarlattis
Alessandro and Domenico, father and son, concentrated an astounding fantasy and inventiveness into small forms, the Italian aria and the keyboard sonata, each leaving a legacy so extensive and fascinating that no-one can quite grasp it all.
June 2 | Donizetti at zenith
When Italy’s busiest opera composer came to Paris, he had shows running at all four main theaters: “une veritable invasion,” according to Berlioz. We are told he composed the final act of La favorite at a single sitting after dinner – but a lifetime of mastery lay behind the spontaneity. [Caramoor revives La favorite July 11]
What do we mean by “line” in music? The quoted phrase is from Girolamo Crescentini around 1800, and describes one aspect – among many – of the most elusive and necessary quality of interpretation.
March 31 | Opera’s first genius?
If Henry Purcell had not died at 36 in 1695, the history of musical theater would be different – and England might have been in the lead. [All-Purcell programs at Carnegie April 8 and 12]
April 14 | Cav and Pag
Two debut operas by composers who never quite surpassed their first lucky shots; two perfect embodiments of what we call “verismo”; two targets of a century of critical condescension; two feasts of impassioned Italian singing – if you can find the singers. [New MET production opens April 14]
April 21 | Merry Widows in Lands of Smiles
The limitations of Viennese operetta are obvious: fluffy plots, unambitious characterizations, faded social relevance (if any). What is the musical magic that keeps it alive? [MET revival of Die Lustige Witwe opening April 24]
April 28 | Stravinsky’s Progress
Forty years after The Rite of Spring set off riots in Paris with its primitive energy, and several self-transformations later, the cosmopolitan Russian who dominated 20th-century music produced his only full-length opera – a wry pastiche of Mozart and the British comedy of manners. It still managed to be controversial. [MET revival of The Rake’s Progress opening May 1]
May 12 | What’s in a Mazurka?
The longest and boldest series of Chopin’s works packs infinite shades of expression and drama into a little-understood folk dance. [Yevgeny Kissin in recital at Carnegie May 16]
May 19 | Nicolai Gedda at 90
The beloved Russian-Swedish tenor’s birthday actually falls a bit after our series concludes, but this is a good occasion for reviewing the career of a singer whose voice brings smiles every time we hear him in class – perfect style and unmistakeable clarity whether singing in French, German, English, Italian, Swedish, Russian, Polish, Spanish, Czech, or Norwegian.
May 26 | The Amazing Scarlattis
Alessandro and Domenico, father and son, concentrated an astounding fantasy and inventiveness into small forms, the Italian aria and the keyboard sonata, each leaving a legacy so extensive and fascinating that no-one can quite grasp it all.
June 2 | Donizetti at zenith
When Italy’s busiest opera composer came to Paris, he had shows running at all four main theaters: “une veritable invasion,” according to Berlioz. We are told he composed the final act of La favorite at a single sitting after dinner – but a lifetime of mastery lay behind the spontaneity. [Caramoor revives La favorite July 11]