Renee Fleming, soprano; Gerald Martin Moore, piano. February 28, 2019.

New Jersey State Theater, New Brunswick.  Orchestra (Seat S116, $27.50).

Program

Vocal recitals usually are not my “thing.”  However, when I saw the TodayTix APP offering $20 tickets, I couldn’t resist.  It is Renee Fleming, and it is at the State Theater, a little over 20 minutes away from my house.

It was a worthwhile experience, even though my appreciation and knowledge of the vocal art remain quite limited.

First, it was a well-designed program.  It led off with five of Brahms’ songs.  Fleming talked a bit about them, what stood out were “Meine Liebe ist grun,” with text written by Robert and Clara Schumann’s son Felix, who died in his early twenties from tuberculosis; and “Wiegenlied,” the famous lullaby that is sung in every country.  The first song (Vergebliches Standhen) calls for a male and female voice, and Fleming sang both.  She also did that with the last piece in the regular program.  All the songs talk about love, realized or unrequited, and Fleming brought out the emotions well.

This was followed by selections from a suite written by Puts, based on letters Georgia O’keeffe wrote to Alfred Stieglitz, who would eventually become her husband.  The three selections from the composition painted a picture of the New Mexico landscape.  I remain puzzled why the song “Canyon” talks instead about the sky and the flat prairie land.  Fleming said the composition is being expanded to include Stieglitz as well.  A search of the web seems to indicate this is an opera, go figure.

Fleming has been involved with music for many films.  Three were selected for the first half.  Of course both “Tis the Last Rose of Summer” and “You’ll Never Know” are well-known in their own right.

At the conclusion of the first half of the program.  I was seated reasonably close to the stage, but failed to get any reasonable shots.

After the intermission Fleming started with a group of arias from “standard” operas, although the only one (of the four) that I was familiar with was Turandot.  I didn’t know Leoncavallo wrote La Boheme, about the same time Puccini did his.  Even though the premiere was well received, the opera is nowadays rarely performed.  The Musette aria reminded me of Carmen’s Habanera.

The program concluded with four broadway songs.  As with the last number in the first half, Fleming used a microphone for that, explaining Broadway singers needed the mike for the flexibility, and to survive the brutal schedule of eight shows a week.  For the last number she sang all the parts, including that of mother, grandmother, and the chorus.

She did three encores: “Summer Time” by Gershwin, “I could have danced all day” from “My Fair Lady” where she invited the audience to sing along, and “O mia babbino caro” from “Gianni Schicchi.”

Another blurry shot.  A different dress for the second half.

The pianist evidently has been a long-time collaborator with Fleming.  He certainly didn't get as much billing as the last vocal recital I saw.  The pianist in that case?  Daniil Trifonov.

In general, it was a delightful evening, and the audience was thrilled.  I have heard Fleming multiple times before, notably in Thais, Rusalka, and Otello, yet today she sounded edgier (or harsher) than usual; I wonder if it was the acoustics of the hall.  She did get some words wrong, but it was a long program.  What was inexplicable was the slight intonation program that crept in every now and then.  My ears have been ringing a little bit lately, I wonder if that’s why I think people are out of tune …

We bought two tickets, but Anne decided not to go.  The hall was reasonably well occupied, but I do wonder how many tickets were heavily discounted – my seat was quite good, in fact excellent if one takes into account how little I paid for it.

Sydney Symphony Orchestra – David Robertson, conductor; Diana Doherty, oboe. February 9, 2019.

Concert Hall, Sydney Opera House.  Mid-Circle (Seat L36, A$65.)

Program

Also Sprach Zarathustra – Symphonic Poem, Op. 30 (1896) by Strauss (1864-1949).

Spirit of the Wild – Oboe Concerto (2016) by Westlake (b. 1958).

The Warriors – Music to an imaginary ballet (1917) by Grainger (1882-1961).

The season opening concert for SSO was Friday February 8.  On their webpage both the February 8 and 9 concerts are grouped under the “2019 Season Opening Gala.”  As a tourist the best I can put on would be polo shirt, khaki pants, and black walking shoes.  So I decided to tempt fate with the second day of this Opening Gala.

The Program probably would appeal to an Australian concert-goer, as two of the three pieces were composed by Australian composers, one of them featured the SSO’s Principal Oboist; and who didn’t love the opening theme of 2001: Space Odyssey?

I had just heard on January 26 the Strauss piece performed by the NJ Symphony.  In my blog entry I mused how a description of the tone poem’s program would help my appreciation of the music.  My answer: just the listing the parts that comprise the music (see my previous blog for this list) helped a lot.  While I couldn’t make out where the music was some of the time, I could clearly tell “joy and passion,” “science” (a fugue), and “night wanderer.”  The last was obvious as we got close to the end of the 33-minute piece.

My experience with the NJSO performance was such that it gave me cause for concern.  The SSO certainly sounded more disciplined and confident than what I heard from the NJSO.  It really behooves them to help the audience understand what they are playing.

Nigel Westlake’s father was principal clarinetist of the SSO, and he started his musical career as a clarinetist before adding composition to his repertory.  Today’s piece was inspired by his visit to Bathurst Harbour of Tasmania, which he describes as “… a pristine waterway … within the Tasmanian Wilderness World Heritage Area.  Almost completely devoid of modern human intrusion, the area … is accessible only by boat, plane, or foot.  It is a magical patchwork of button-grass moorlands, heathlands and estuaries, bordered by jagged works, wild rivers and rugged coastlines.”  The four movements have the following markings: (I) quarter=96 – cadenza (II) quarter=96 (III) Tranquillo – Liberamente - quarter=96 (IV) Agitato.  Diana Doherty, SSO’s current principal clarinetist, met up with Westlake to demonstrate some of the techniques that could be incorporated into the piece.  This piece was first performed in 2017.

And that was what the piece sounded like.  I had seen rugged Tasmanian coastlines, and had to say what I heard didn’t evoke memories of the boat rides I took next to them.  To have music describe certain thoughts or landscapes always was somewhat arbitrary, as opposed to most people see a cigar when a cigar is drawn, for instance.

Diana Doherty and Nigel Westlake being acknowledged by the audience.  Robertson standing among the violins.  There were no woodwind instruments in the orchestra.

Percy Grainger was also an Australian composer; and his “imaginary ballet” suite is still awaiting its program.  There are eight distinct parts to this music, and Grainger lists the ghosts of male and female warrior types that are being described: Greeks, Zulus, Vikings, Amazons, Greenland women, Red Indians, Fijians, Polynesians.  In his writeup he used quite a few adjectives to describe these warrior which are not acceptable nowadays.

The section changes are relatively easy to catch, even though I could have mis-identified how the music connects with the actual group being described.

A much larger orchestra was used to perform the Grainger composition.

The SSO is a fine orchestra, controlled and precise under the direction of Robertson, who is serving as the music director for the final season.

I bought two extra tickets for Ellie and Kuau, and Anne would remain behind to babysit.  Ellie decided not to go at the last minute, so we had an empty seat.

As to the concert being labeled a gala?  Many did show up in suits and dresses, but being the summer, many were dressed casually also, and I certainly didn’t feel out of place.

Opera Australia – Puccini’s La Boheme. February 8, 2019.

Joan Sutherland Theatre at Sydney Opera House.  Circle (Seat E8, A$167.)

Story.  See previous blog.

Conductor – Nicolas Milton.  Mimi – Joyce El-Khoury, Rodolfo – Ivan Magri, Marcello – Samuel Dundas, Musetta – Julie Lea Goodwin.

For this year’s trip to Australia, we started at Brisbane, and flew down to Sydney on Friday February 8 in the morning.  A few days before we left the USA, I bought three tickets to this opera, asking Tim and Whitney to come along.

I found out afterwards that I had seen this with Tim and Alyson in 2013, but had little recollection of it.  Tim also forgot all about it.  Comparing the cast members for the two performances, the only common one was Samuel Dundas singing the role of Marcello.

My blog entry on the 2013 performance was quite minimal, but it was generally quite positive.  The only complaint was about how all the singers belted out their lines.

For tonight’s performance the volume wasn’t that much of a concern.  The constant term that came to mind, however, was “chaotic.”  The story is simple, and I am reasonably familiar with the story, so I shouldn’t feel as confused as I oftentimes was.  The sets were simple, but in Act II it seemed too many things were happening (this is the Act where a couple of topless ladies appeared in Café Momus.)  If I remember correctly, the Met production had more people on stage, but I could follow the story better.

So I won’t forget (if there is) the next time I see this again, here is a brief description of the sets. For Act 1 the background were six (or so) panels where the painter was done; in the center panel was the door to the room; a step-ladder, a chest, and a plank constituted a table; and there was a fireplace where the poet’s work was burnt to warm the place.  Act II started as a city square where adults and children milled about, then two-tiered props were rotated out as Café Momus.  For Act III the background were panels of chain-linked fences, and in center stage was a desk and chairs for the customs agents; it snowed towards the end of the Act.  Act IV took place in the artists’ living room again, the desk now had a mattress on it for Mimi’s last moments.

The singing was all good, although no one stood out particularly.  The few solo instrument lines were also done well.  Somehow the story about Marcello and Musetta was more of a background event; either I couldn’t concentrate, or producers have a way to bring across different messages.

Curtain Call.  Standing in front is conductor Nicholas Milton.

It is a tribute to all involved that the story was still heart-wrenching, simple and somewhat incredible as it was.  Even what I often considered as a joke “they call me Mimi, but my name is Lucia” sounded extremely sad.  And I didn’t realize it was the dying Mimi who was repeating what Rudolfo was saying when they first met.

La Boheme is ranked one of the most popular operas, for good reason.  Opera Australia will be doing 23 performances this season.

There was lightning and torrential rain this evening.  I saw lightning, but managed to dodge most of the rain by taking advantage of the lower promenade leading to the box office.  Many people 

New York Philharmonic – Jaap van Zweden, conductor; Emanuel Ax, piano. January 31, 2019.

David Geffen Hall at Lincoln Center.  Orchestra (Seat Z112, $85.50 ).

Program

Symphony No. 1 in E-flat major, K. 16 (1764) by Mozart (1756-91).

Piano Concerto in D major, Hob. XVIII:11 (ca. 1780-84) by Haydn (1732-1809).

Capriccio for Piano and Orchestra (1928-29, rev. 1949) by Stravinsky (1882-1971).

Symphony No. 41 in C major, K. 551, Jupiter (1788) by Mozart.

Sometimes it is good to attend a concert where it is possible to enjoy without having to think too much.  Tonight’s concert certainly qualifies, at least for three of the four pieces on the program.  Of course, many Ph. D. degrees have been granted, and many books have been written, on these pieces.  The discussion topics can range from exactly when the pieces were written, to what instruments were intended to be used, to how the pieces illustrate the genius of the composers.  All good, but I, for one, could use a break, and this was two hours of sitting back and enjoying the music.  Interestingly, there are no records of when the “old” pieces were premiered.

It is instructive to have Mozart’s first and last symphonies performed in the same program, so one could appreciate the prodigy Mozart was (he was 8 when he wrote his first symphony), how he matured as a composer, and, perhaps, speculate what could have been if he hadn’t died at such a young age.

Mozart’s first symphony consists of three movements: Molto Allegro, Andante, and Presto.  Easy to listen to, and easy to perform (I assume.)  The Program Note says this work was not far removed from coeval (why use a simple word like “contemporary”) three-movements symphony by Carl Friedrich Abel and Johann Christian Bach, except they were 41 and 29 years old.  I was young when I started graduate school, and felt quite smart until this 16-year old was in the same class that I was (he got his Ph. D. the same year I did.)  Abel and Bach had to feel even “worse.”

Mozart’s last symphony was written a few years before he died, so it is somewhat of a mystery why he hadn’t written more, given how prolific he could be.  He finished his last three symphonies in the span of nine weeks, after all.  With all the repeats (which were taken today), the piece lasted about 35 minutes.  I still remember getting a bit bored the time there were three Mozart symphonies in the program.  Today was a bit better, although I would be okay to have things move along a bit faster.  In any case, the “highlight” was the last moment, well known for the fugue where Mozart strung together all five melodies.  Naturally we can count on our word-smithing annotator to say “Mozart renders the listener slack-jawed through a breathtaking fugal display of quintuple invertible counterpoint, …, looking backward … Bach and Handel, and forward … Beethoven.”

 A larger orchestra was used to performed Mozart's 41st Symphony (bottom) compared to the first (top photo.)  The Jupiter is about three times as long as the first symphony Mozart composed.

Haydn lived to the ripe old age of 77, and probably was equally prolific a composer, even though his work is not accorded the same superlatives as Mozart’s.  While he wrote over 100 symphonies, the number of keyboard concertos is only 13 (per Wikipedia.)  Again, once could just sit back and enjoy the performance, and there is no better pianist to do it than Ax, whose playing I always enjoy.  The three movements are Vivace, Un poco adagio, and Rondo all’Ungherese (Allegro assai).  The Hungarian nature of the Rondo was delightful.

Haydn's Piano Concerto was a delight to hear.

Stravinsky wrote the Capriccio after he fled Russia for Western Europe.  He started with the third movement and added the other movements later.  The Wikipedia entry says he wrote it for himself so he could make a living performing it.  It was about 18 minutes long, and performed without pause; the movement transitions were quite clear, though.  The movements are Presto, Andante rapsodico, and Allegro capriccioso ma temp giusto. In addition to the solo piano, there is a “concertino” group (again per Wikipedia) of strings.  We could see the violin and the double bass, the piano blocked our view of the viola and the cello.  In fact some of the wind section sounded like they belonged in this small ensemble also.

A more complex orchestra, with many percussions, was used to perform the Stravinsky Capriccio.

Being the first time for me, I could only say it was a nice give-and-take among the different players, with the piano naturally playing a prominent role.  Ax brought his music with him, either he wasn’t sure he had it memorized, or more in keeping with a chamber performance.

The orchestra performed an encore.

The weather has been bitterly cold the last night, and it was in the teens when we parked our car.  We had dinner at East Szechuan Garden again.