Education Update - July 2002

20MUSIC, ART & DANCE ■ EDUCATION UPDATE ■ JULY 2002Music in BerlinFew cities can compete with thiscity’s musical quality and variety.By IRVING SPITZWith three active functioning opera companies,in addition to several symphony orchestras,including the venerable BerlinPhilharmonic, Berlin’s rich choice of musicalofferings can easily overwhelm the casual visitor.I had this fortunate experience some weeksago during a visit to Berlin, when I enjoyedsome of these rewarding offerings.At the Deutsche Opera, a revival of Wagner’sTannhauser with the American John FredricWest in the title role was particularly enjoyable.Singing with assurance and dignity, West gavea magnificent portrayal of the role. Venus wassung by Nadja Michael and Elizabeth by EvaJohansson, both gave very commendable performances.At the very outset, Johansson tendedto strain with her fortissimo passages, butshe rapidly settled into the role. The other principals,including Markus Bruck as Wolframand Stephen Milling as the Landgraf, were upto the demand of their roles. The production byGotz Friedrich and the staging and costumes byRolf Glittenberg were modern and tasteful, thescenes in the Venusburg being particularlyeffective. Conductor Marc Albrecht showed hisskill at supporting his singers while allowingthe orchestra to express itself to the maximum.The revival of Handel’s operatic masterpiecescontinues. The Komische Opera stagedhis opera Tamerlano composed in 3 weeks in1724. Although a brutal leader, Tamerlano(Timur) is portrayed by Handel with dignityand charisma. Indeed, his personality is sufficientlywinning to jeopardize the love betweenAsteria, daughter of Bejazet and the GreekPrince Andronico. Tamerlano holds captiveBejazet, the Turkish emir whose country he hasconquered. Asteria begs Tamerlano to releaseher father. This he will do if Asteria agrees tomarry him, even though he is engaged to theprincess Irene. This demanding opera requirestwo countertenors. The Komische Opera certainlydelivered the goods and provided twooutstanding artists, Axel Kohler in the role ofTamerlano and the Australian, Graham Pusheeas Andronico. Both were superb and kept theaudience in thrall. These artists both had theremarkable ability to move from a forcefulmiddle register to high notes whilst maintainingfull tone. The rest of the cast was alsoexemplary. Peter Bronder as the sultan Bajazetbrought the required mixture of a regal presenceand pathos to the role. His final aria beforehis suicide was one of the highlights of theevening. Produced by David Alden with stagingby Charles Edwards, this was a handsomeproduction. Michael Hofstetter’s conductingwas vigorous and produced committed playingfrom the orchestra, while allowing the singersample freedom of phrasing and expression.While the Staatsoper were on an official tourof Japan, their house hosted a performance ofHaydn’s comic opera Il Mondo della Luna, in ajoint production from the Innsbruck Festival.This opera, based on Goldoni’s witty farce, is aforerunner of Mozart’s Cosi fan Tutte. In theplot, the astronomer, Ecclitico and his accomplices,Ernesto and Cecco persuade a simpleton,the old man Buonofede, to take a trip to themoon. The aim is to hoodwink the old man intoallowing Ecclitico to marry his daughter,Clarice, and Cecco to marry the second daughter,Flaminia. In the end, Buonofede getsdeservedly duped for his stupidity. This farfetchedplot requires much imagination andingenuity to stage effectively. KarolineGruber’s stage direction went for overkill. Inplace of Haydn’s nymphs and shepherds, thescene on the moon was replete with transvestitesin fanciful costumes. Rene Jacobs, theBelgian conductor who has made baroqueoperas his speciality managed to coax the maximumout of the Akademie fur alte MusikBerlin, but there were nevertheless some roughpassages. All principal singers acquitted themselvesadmirably, particularly noteworthybeing Kobie van Rensburg as the astronomerEcclitico and the bass Enzo Capuano as the oldfather, Buonofede.Finally, I attended a performance of theBerlin Philharmonic under their director,Claudio Abbado. Abbado certainly pulled outall the stops with a masterful performance oftwo minor works by two great composers.Beethoven’s Fantasia for Piano, Choir andOrchestra consists of an introduction for pianosolo, several variations for piano and orchestraand a short choral conclusion. This was a forerunnerof the composer’s ninth symphony.Mendelssohn’s second symphony with theeinstrumental movements, followed by a multisectionalfinale with chorus and soloists, isopenly modeled on Beethoven’s ninth.Mendelssohn’s symphony, known as theLobgesang or Song of Praise, was composed tohonor the 400 anniversary of Guttenberg’sinvention of printing. Although the work hasnot been without its defenders, few other nineteenthcentury symphonies have provoked suchcriticism. In this performance, Maurizio Polliniput his expected masterful stamp on theBeethoven, and together with Claudio Abbado,this proved to be a magisterial and unforgettablepartnership. Sopranos Karita Mattila andLioba Braun and tenor Peter Seiffert all gaveBROOKLYNC O N S E R V A T O R YofM • U • S • I • C58 Seventh Avenue(Corner of Lincoln Place)718-622-3300Fall Semester Begins September 9.Register your child for lessonsor classes. 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It is possible that theyeven play with more warmth and passion thanever. Abbado’s predecessor, Herbert vanKarajan, refused to have women players in theorchestra. Today he would turn in his grave: Icounted 12 female instrumentalists.#Phone 718-377-5188 Fax 888-692-0056www.VanguardCrafts.comSAVE 15% WHEN YOU PRESENT THIS COUPON (EXPIRES 12/31/02)(IF CALLING YOUR ORDER IN, MENTION SALES CODE “ED2002”)Shakespeare Program at LI Elementary SchoolSince the 1999-2000 school year The ShubertElementary School has been engaged in aninnovative after school theatre program. Underthe leadership of founder Joseph A. DeLeo, TheShubert Shakespearean Players have developedan outstanding dramatic ensemble.Focusing exclusively on the works of WilliamShakespeare, students gain a deeper understandingand appreciation of the world’s mostimportant playwright. To reach the readiness toperform, students are guided towards an understandingof the universal commonality ofhuman feelings and emotions inherent inShakespeare’s works.With Board of Education approval in 1999,The Shubert Shakespearean took its first stepsas a fledgling after school drama club.Shakespeare’s popular play, Romeo and Juliet,became director DeLeo’s initial attempt at staginga serious drama along with co-directorKimberley Wood and set designer Jeff Smith.Set in Verona, New Jersey in the Disco 70s, thisproduction became an instant success with students,teachers and parents alike. Shubert’sPTA honored each one of its young stars with amini Tony Award. 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