Tag: Mozart

  • Cosi fan tutte Last Chance Princeton

    Cosi fan tutte Last Chance Princeton

    Mozart’s “Cosi fan tutte” is a farce with humanity. You have one more chance to see it at The Princeton Festival. The opera concludes its run at the performance pavilion on the grounds of historic Morven Museum & Garden, 55 Stockton St. (Route 206), on Tuesday at 7 p.m.

    Did you know that originally Antonio Salieri took a crack at composing it? In 1994, two fragments in Salieri’s hand were discovered in the Austrian National Library. That was before Lorenzo Da Ponte’s libretto was taken up by “the creature.”

    Of course, Mozart had an “in,” as he had already collaborated with Da Ponte on “The Marriage of Figaro” and “Don Giovanni.” And anyway, with all respect to Signor Salieri, the subject matter seems much more in line with Mozart’s saucy sensibility. While the Viennese of 1790 were worldly folk, “Cosi” would be given the side-eye in the 19th century, when the opera was deemed risqué or even immoral. If it was done at all, it was presented with tasteful alterations. It was only in the 20th century that the work’s reputation was restored.

    Yeah, the characters are knuckleheads – flawed, irrational, and stupid – but they are also capable of great beauty. It’s all right there in the title, often translated, if anyone bothers, as “So Do They All.”

    The festival’s final week will continue to embrace a variety of genres. A Juneteenth celebration will culminate in a concert of Black choral music, sung by the Capital Singers of Trenton and friends, under the direction of Westminster Choir College’s Vinroy D. Brown, at the pavilion on Wednesday at 7 p.m. The program will include Robert Ray’s “Gospel Mass.” Earlier, there will be a flag raising ceremony, food, reflection, and fun. For details, visit the festival website at the link below.

    On Thursday at 7 p.m., The Sebastians will return for a program of Baroque favorites, with a selection of Bach’s Brandenburg Concertos, along with works by Telemann and Vivaldi. That concert will be held across the street at Trinity Church Princeton (33 Mercer St.).

    On Friday at 7 p.m., back at the pavilion, the Juilliard-trained, genre-defying trio Empire Wild will unpack its signature mix of original music, inventive covers, and twists on the classical canon.

    Finally, on Saturday at 7 p.m., Tony Award winning Santino Fontana, star of stage (“Tootsie,” “Cinderella”), film (Disney’s “Frozen”), and television (“Crazy Ex-Girlfriend,” “The Marvelous Ms. Maisel”), will bring the festival to an uplifting conclusion with an evening of pops, cabaret, and Broadway, accompanied by the Princeton Symphony Orchestra, again under the performance pavilion at Morven.

    For tickets and information about parking, concessions, and more, visit the Princeton Festival website, at princetonsymphony.org/festival.


    Video samples:

    Behind the scenes of “Cosi fan tutte”

    The Sebastians perform Bach’s Brandenburg Concerto No. 6

    Empire Wild in 5 minutes

    Santino Fontana

  • Così fan tutte at Princeton Festival

    Così fan tutte at Princeton Festival

    A wager on the inconstancy of young love leads to farcical complications in Mozart’s “Così fan tutte.” The title has always been as uncomfortable to translate as the comic anguish endured by its leads. Variously known in English (if at all) as “So Do They All” and “Women Are Like That,” it’s probably best to stick with the Italian. Whatever you call it, it is generally bracketed in the composer’s top-four operas. Unsurprisingly the libretti for three of them were quilled by the flamboyant Lorenzo da Ponte, poet, priest, and profligate, friend of Casanova, and eventually professor of Italian literature at Columbia University.

    The opera forms the centerpiece of this year’s The Princeton Festival. You’ll have three chances to see it, on Friday at 7 p.m., Sunday at 4 p.m., and Tuesday at 7 p.m. Performances will be held outdoors in the open-flapped, state-of-the-art performance pavilion on the grounds of historic Morven Museum & Garden, at 55 Stockton St. (Route 206).

    The stage direction is by James Marvel, who, with a game cast and scenic design by Blair Mielnik, ensured last year’s production of Rossini’s “The Barber of Seville” was such an imaginative romp. This year, the team promises a fresh, contemporary take on “Così,” setting it in a pastel-colored dreamhouse villa, high above the glamorous Amalfi Coast. Attired by costume designer Maria Miller, the high-styled, jet-setting characters’ loyalty to one another is tested as the plot – and hilarity – unfolds.

    The opera will be sung in Italian with English subtitles. The Princeton Symphony Orchestra will be conducted by its music director, Rossen Milanov.

    Two pre-performance talks, “Not So Cozy Così,” with Julian Grant (on Friday), and “Exploring Così fan tutte,” with Timothy Urban (on Tuesday), will be offered at Morven’s Stockton Education Center at 5:30 p.m.

    Also coming up: the Abeo Quartet will perform chamber music by Reena Esmail, Shostakovich, and Schubert, tomorrow, Thursday, at 7 p.m., across the road at Trinity Church Princeton (33 Mercer St.).

    American Repertory Ballet will bring dance to the pavilion, with choreography by Arthur Mitchell and Meredith Rainey, and Milanov conducting members of the PSO in music by Philip Glass (“Quartetsatz”), Miranda Scripp (“Intrare Forma”), Jean Sibelius (“Impromptu for Strings”), and Edvard Grieg (the “Holberg Suite”), on Saturday at 7 p.m.

    Wednesday, June 19, will be a big day, with a program of Black choral music, featuring the Capital Singers of Trenton and friends, under the direction of Westminster Choir College’s Vinroy D. Brown, providing the capstone to a Juneteenth celebration. The program will include Robert Ray’s “Gospel Mass.” The concert will be held at the performance pavilion at 7 p.m.

    A Juneteenth flag raising ceremony will take place next door, at the Municipality of Princeton, at 1 p.m. The festival will continue at Morven at 4 p.m., with plenty of food, reflection, and fun, leading up to the choral concert.

    On Thursday, June 20, The Sebastians will return to Trinity Church Princeton for a program of Baroque favorites, with a selection of Bach’s Brandenburg Concertos offered, cheek-by-jowl, with works by Telemann and Vivaldi.

    The Juilliard-trained, genre-defying trio Empire Wild will electrify the pavilion with its signature mix of original music, inventive covers, and twists on the classical canon, on Friday, June 21, at 7 p.m.

    Finally, on Saturday, June 22, at 7 p.m., Tony Award winning Santino Fontana, star of stage (“Tootsie,” “Cinderella”), film (Disney’s “Frozen”), and television (“Crazy Ex-Girlfriend,” “The Marvelous Ms. Maisel”), will bring the festival to a lively conclusion with an evening of pops, cabaret, and Broadway, accompanied by the Princeton Symphony Orchestra, again under the performance pavilion at Morven.

    For additional events, like Yoga in the Garden and the Juneteenth oral history project, as well as information on tickets, parking, and concessions, visit the Princeton Festival website, at princetonsymphony.org/festival.


    CLOCKWISE FROM LEFT: “Così fan tutte,” American Repertory Ballet, Empire Wild, and Santino Fontana

  • Happy Birthday Mozart Celebrate on KWAX

    Happy Birthday Mozart Celebrate on KWAX

    HAPPY BIRTHDAY, MOZART!

    This morning, we’ll honor the master over his preferred breakfast of hot chocolate and white rolls with an ebullient playlist including his “A Musical Joke,” the composer’s catalogue of compositional crimes.

    Also on the program will be musical salutes by Victor Borge, Benny Goodman, Red Ingle, Florence Foster Jenkins, Raymond Scott, and others.

    I hope you’ll join me for an hour of “Eine kleine Leichtmusik” on a special birthday edition of “Sweetness and Light,” this Saturday morning at 11:00 EST/8:00 PST, exclusively on KWAX, the radio station of the University of Oregon!

    Stream it, wherever you are, here:

    https://kwax.uoregon.edu/

  • Glück: Opera, Reform, and Lasting Influence

    Glück: Opera, Reform, and Lasting Influence

    In German, the word for happiness and good fortune is the same: Glück.

    These qualities also happen to characterize the composer who bears that name (albeit without the umlaut).

    Christoph Willibald Gluck has come down to us as one the great operatic reformers. Yet, of his own operas (about 35 survive), he’s pretty much remembered for but a single work, “Orfeo ed Euridice” – especially the “Dance of the Blessed Spirits.”

    Gluck’s own blessed spirit lives on primarily through his influence on others – Mozart, Weber, Berlioz, and Wagner.

    One can certainly hear anticipations of Mozart’s “Don Giovanni,” not only in Gluck’s ballet “Don Juan,” but also in his overture to the opera “Iphigénie en Tauride.” Furthermore, there’s no way Mozart did not know Gluck’s “Don Juan” fandango when he himself came to include one in “The Marriage of Figaro.”

    More broadly, for Gluck, words and music were to bear equal weight. No more, the florid, showy arias of yore, ornamented beyond recognition by star castrati. Beautiful singing was to remain, of course, but DRAMA was to be of foremost importance.

    It was musical theater’s good fortune to attract Christoph Willibald Gluck. Happy birthday to a man who made his own luck. Zum Geburtstag viel Glück!


    Otto Klemperer conducts Wagner’s arrangement of the overture to Gluck’s “Iphigénie en Tauride”

    The ballet “Don Juan”

    Gluck’s “Fandango” staged

    https://www.youtube.com/watch?v=LTAqT7MY-Dc

    Mozart’s “Fandango” staged

    “Dance of the Furies, from “Don Juan” (later reused in “Orfeo”)

    Documentary “Gluck the Reformer,” with John Eliot Gardiner, William Christie and others

  • Ingrid Haebler Acclaimed Pianist Dies at 93

    Ingrid Haebler Acclaimed Pianist Dies at 93

    Ingrid Haebler has died. A pianist who excelled especially in the core repertoire of the Classical and early Romantic Eras, Haebler recorded all of the Mozart piano concertos, his piano sonatas, and with Henryk Szeryng, his sonatas for piano and violin. She also recorded the sonatas of Franz Schubert.

    A little more off the beaten path, Haebler blazed a trail for Johann Christian Bach, recording his concertos on a fortepiano at a time when performances on period instruments were far from the norm.

    Never a flashy pianist, she was widely respected for her exquisite musicianship. She was at her best, arguably, as a collaborative pianist. By herself, she risked fading into her own humility.

    Philips Records acknowledged her greatness by including her recordings in its Great Pianists of the 20th Century Series.

    Haebler died yesterday at the age of 93. R.I.P.


    J.C. Bach

    Schubert

    Mozart with Szeryng

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