Prior to 2010 I did not write regularly. I found most records from 2009 (now posted on this blog), but right now the only reliable musical notes from 2004-2008 are in my annual year-end highlight summaries, so I am posting these until I locate more in my archives.
Best performance: Bruckner, Symphony Nr. 3, Concertgebouworkest Amsterdam (performing in the Musikverein, Vienna) under Mariss Jansons (February). An emotional, transcendental, and ultimately triumphant performance that made me lose my breath several times. From my front-row seat, however, I discovered that Jansons makes snoring noises when he conducts, which is a little disconcerting. Otherwise he is a tremendous conductor and enormously popular in Vienna for good reason.
Worst performance: The Gypsy singer Carmen Linares, with the Spanish National Orchestra (performing in the Konzerthaus, Vienna, March). Orchestra under Josep Pons and young group of Spanish vocalists performed concert versions of de Falla’s ballet Amor Brujo and opera Vida Breve. However, the supposedly well-regarded Linares croaked the portions of Amor Brujo requiring a Gypsy singer and she also rasped the (supposed-to-be-male) Gypsy singer role in Vida Breve. Spanish Gypsy singing is a special art, but she may be the first Gypsy singer I have heard with no musical qualities whatsoever, and she even required amplification.
Worst performance at a concert (non-musician): Giorgio Mamberto, Head of the European Commission office in Kosovo, Pristina (March). Before a concert of the Kosovo Philharmonic (which deserves credit for actually managing to schedule a concert) sponsored by the EC to commemorate the fiftieth anniversary of the Treaty of Rome, Mamberto announced to all assembled that for fifty years there has been only peace in Europe, and that today Europeans can travel throughout Europe without passports and can work without visas. The Kosovars were not amused. The Prime Minister’s spokeswoman got up and replied that Kosovo would have loved to sign the Treaty of Rome fifty years ago, but unfortunately was otherwise occupied at the time.
Best opera: Gounod, Faust, Slovene National Opera Marburg (March). I somehow managed to go a whole year without making it to the Wiener Staatsoper, so took in my operas in other houses. This performance was anything but provincial, with a repertory cast under the Neapolitan conductor Lorenzo Castriota Skanderbeg (whose family claims it is descended from Albania’s mediaeval national hero).
Most fun at the opera: Offenbach, Orpheus in der Unterwelt, Volksoper, Vienna (September). The parody plot is very much dated, but easily adaptable by a good director thanks to Offenbach’s timelessly comic music. This version worked.
Worst opera: Ravel, Spanische Stunde, Volksoper, Vienna (October). The plot is a farce and should have been very funny, but Ravel’s boring music did not match up despite being well-performed. The evening was not a total write-off thanks to a terrific performance after the intermission of Orff’s Die Kluge, which was fun indeed.