Dip Your Ears, No. 80 (Jerusalem DSCH)

DSCH, Quartets 1, 4, 9, Jerusalem Quartet Harmonia Mundi DSCH, Quartets 6, 8, 11, Jerusalem Quartet Harmonia Mundi DSCH, Quartets 1,4,6,8,9,11, Jerusalem Quartet Harmonia Mundi

Ever since hearing the first recording and live performances of Shostakovich Quartets by the young Jerusalem Quartet (3/4 of Russian descent) I have thought them the most promising quartet of its generation in Shostakovich: Their's is Shostakovich in heat, played with great idiomatic and musical understanding - in short: stunning. Their first release (Nos. 1, 4 & 9 - HMU 901865) is among the very best single discs of Shostakovich quartets available, their second only furthers that assessment.

Seeing quartet No.1 on their earlier disc should not scare anyone away as a possible piece of modestly inspired DSCH-juvenilia. There are, in fact, no "early" quartets and although just a test-run with the format, it's one of his finest. He must have realized that he got along very well with the format... as 14 others - many of them masterpieces - followed.

Quartet No.4 in D-Major, op.83, with its long pedal points underneath a firm pulse, its beautifully orchestral and melodic second movement, the subtle nervousness and two gently irresistible pulses tip-toe-galloping over more open string pedal points of the Allegretto third movement, all before cumulating in the pizzicato-heavy Allegretto finale is performed with the technical wizardry expected these days, and the emotional investment so rarely heard anymore. The same goes for the other two works here.

If the first disc is made up of more or less upbeat and joyously exciting works, the coupling of Quartet No.6, op.101, the great No.8, op.110, and No.11, op.122 (HMU 901953) has an altogether darker, more somber hue. But the strengths of the Jerusalem Quartet come out in these works just as much. From the Allegretto of op.101 to the Finale - Moderato of op.122, they give a riveting account that is haunting in its painful moods, biting in its irony, irresistible in its drive. Especially in Quartet No.8, where the cool perfection of the Emerson Quartet (DG 638802) the Hagen Quartett (DG 650502) work best, the Jerusalem Quartet shows an alternative that is equally dark - but gripping instead of offering a sense of détaché. Their vigor in the second movement (Allegro) is almost frightening, the haunting ´fanfare´ of the first violin in the Allegro, bone-chilling.

The cynical wit and dark humor of op.122 is combined with a compelling forward movement as the Jerusalem Quartet saws away on their instruments, unstoppably buzzing and twitching away. The delicacy in the third and fourth movements of op.101 is touching like I have not heard before - the transition from Lento to Lento gently indulging in music that, although in need of getting used to for newcomers, can´t fail to touch. If there is a group - on disc - that can please as much as the Borodin's first two cycles do, this is it. And amid the plethora of complete Shostakovich cycles that has come on the market over the last ten years, this quartet is one I actively wish will throw their hat in the ring! Both releases are very highly recommended.

Telemann Violin Concerti

Available at Amazon: Telemann, Complete Violin Concerti, Vol. 2, L'Orfeo Barockorchester, Elizabeth Wallfisch (released February 27, 2007) Telemann Vol. 1

Telemann on Ionarts: Recorder Suites/Concerto, M. Steger, Akademie für Alte Musik Orpheus, R. Trekel, D. Röschmann, Akademie für Alte Musik Overtures, Sonata, Concertos (4 vols.), Musica Alta Ripa Flute Quartets, Musica Antiqua Köln, R. Goebel Wassermusik, Musica Antiqua Köln, R. Goebel

Is there a new musical nationalism? Historically informed performance ensembles in Europe have been taking on campaigns to record as much music by their respective native sons as possible. Think of all the excellent French Baroque music brought to us by Les Arts Florissants, Le Concert d’Astrée, Les Musiciens du Louvre, Le Concert Spirituel, and many others. Add to that all of the Italian music recorded by Venice Baroque Orchestra, Europa Galante, Il Giardino Armonico, and Concerto Italiano. Ionarts has also been enjoying the Telemann boom on recordings offered recently by German HIPsters like Akademie für Alte Musik, Musica Alta Ripa, and Musica Antiqua Köln. Now L'Orfeo Barockorchester is recording a complete set of the Telemann violin concerti, with their director Elizabeth Wallfisch on the solo parts.

Like Bach and Handel, Telemann confronted the Italian concerto in the first part of the 18th century, adapting it for his own uses as music director in the city of Frankfurt and later as introductions to his operas in Hamburg. Like Vivaldi (and Bach, secondarily), the violin was Telemann's favored instrument, and this collection of concerti for solo violin offers some insight into Telemann's personality as a performer. Some of the most exciting playing is heard in the B minor concerto (TWV 51:h2), including the use of peculiar tone-bending embellishments on the folksy final movement, Telemann's tongue-in-cheek evocation of a "barbarous" Polish dance.

A work of substance is the G major concerto (TWV 51:G7), which also opens with a slow movement, an evocation of the French sommeil or sleep-music style. The fast movements receive a crisp, unified rendition. Another major work is the B-flat major concerto (TWV 51:B1), recorded here for the first time as Telemann set it down in a recently rediscovered full autograph copy. The disc closes on a decidedly odd note, the A major concerto (TWV 51:A4), with organ-like chords by buzzing winds in the bustling first movement. The piece's subtitle, "Die Relinge" (The toad), indicates that that sound, as well as the peeping repeated notes in the solo, is a depiction of amphibian songs.

All of the pieces on this recording make pleasant listening, and most offer musicological interest. Telemann used the A minor concerto (TWV 51:a2), the closest in sound to the Vivaldi concerti, as the overture to his opera Die lasttragende Liebe oder Emma und Eginhard (Hamburg, 1728), and the G minor concerto (TWV 51:G7) was transcribed by J. S. Bach for harpsichord around 1714. Only the first concerto presented here, the C major (TWV 51:C3), sounds a little discombobulated, with lack of tempo agreement between soloist and orchestra. All in all, a welcome addition to HIP nationalism.

cpo 777 089-2

Alsop Leads Josefowicz and BSO in Adams

In front of a rather full audience at the Meyerhoff Thursday evening, Marin Alsop,

Leila Josefowicz, photo by Michael Zirkle

Music Director-Designate of the Baltimore Symphony, impressed. The high point of the program was The Dharma at Big Sur by John Adams, composed for electric violin and orchestra, and recently commissioned for the opening of Disney Hall in Los Angeles.

From the podium, Alsop offered the audience a verbal introduction to the work, allowing brief demonstrations of the interesting Eastern percussion (cowbells, tuned gongs, a microtonally tuned piano, etc.) and repeatedly referring to the composer as “John,” to underscore the fact that he is not some dead European. The verbal introduction was both well prepared and endearing to the audience, who were given a chance to get to know the future Music Director. Alsop and violinist Leila Josefowicz executed the protracted build-up in intensity – which extended for the entire piece – with absolute authority. The opening Appalachian Spring intervals, heard in harmonics from the cello section, reminded one that the The Dharma at Big Sur is indeed a fusion of Indian and American material (Adams is a Buddhist).

Adams, who also wrote the program notes for his piece, mentioned that “in almost all cultures other than the European classical one, the real meaning of the music is in between the notes.” This case for portamento was laudably affirmed by Josefowicz on her six-string violectra. In the Q&A at the end of the evening, Josefowicz gushed about being able to enter the viola and cello range (the violectra has low C and F strings). Over time, though, one did wonder if the performance would have been more expressive on her actual violin.

Other Reviews: Tim Page, Marin Alsop And BSO Revel In What Feels Like New (Washington Post, May 4) Tim Smith, BSO takes sojourn with Mahler, Adams (Baltimore Sun, May 5)

Alsop stretched the phrases of the Blumine from Mahler’s First Symphony in a lovely way, while giving the soloists plenty of musical space as well. Perhaps the tranquil Blumine was programmed directly before the Adams piece because it ends with portamento figures that rise higher and higher by the first violins. The clarinet solos in Scheherazade, of Rimsky-Korsakov, were particularly well played.

My concert companion mentioned that the average age of a Harley-Davidson purchaser is 65 years old. This leaves Harley with the task of introducing new products aimed at cultivating interest in younger riders (sport bikes, etc.), while not alienating their grayed-hair, loyal base. The Baltimore Symphony is doing an impressive job framing contemporary music so that it may be enjoyed by all. Though as a hedge next season, one should not forget that in addition to progressive programming, the BSO will perform the complete cycle of Beethoven Symphonies. Also in the Q&A, Alsop created interest in next season’s programming by mentioning that the music of Adams will be featured in the season opener, and that Adams will lead the season’s second weekend of concerts, for which he has specifically requested to conduct Beethoven’s Seventh Symphony because of its “minimalism.”

This concert will be repeated this evening (May 4, 8 pm) and tomorrow morning (May 5, 11 am) -- as a Casual Concert, without the Adams work. All performances take place at Meyerhoff Symphony Hall in Baltimore.

You can also hear Leila Josefowicz in a solo recital next weekend, at the Jewish Community Center of Greater Washington in Rockville: May 12 (9 pm) and May 13 (7:30 pm).

Jenůfa

Catherine Malfitano as the Kostelnička, Jenůfa, directed by David Alden, English National Opera

This Saturday, the Washington National Opera opens its highly anticipated production of Leoš Janáček's Jenůfa. This is only the second Janáček opera in the history of the WNO, with one Cunning Little Vixen done in English translation in 1993. This new production directed by David Alden premiered at Houston Grand Opera in 2004: after it played to critical success last fall at English National Opera, it won the Laurence Olivier Award for best new opera production. Catherine Malfitano will reprise her lauded performance as the Kostelnička, and American soprano Patricia Racette will take over the title role. Some of the supporting cast, as well as conductor Jiří Bělohlávek, will be the same as the excellent production at the Met earlier this year. In line with my expectations and after hearing the dress rehearsal earlier this week, I repeat my assertion that this is going to be the high point of WNO's season.

So why have none of the performances sold out, not even opening night? Part of this is due to the damnable provincial conservatism of the Washington audience, as there are many people who would be happy if WNO did the same group of 25 operas over and over. However, unawareness of the power of the Janáček operas is not limited to Washington. Even the Met did not sell out its production of Jenůfa, and that was with Karita Mattila and Anja Silja. Furthermore, in spite of the stellar casting, including the very photogenic Mattila, who is perfect for the Gelb closeup, Jenůfa did not make the cut for the simulcast in movie theaters this year. So, for taking a risk on Janáček, we applaud WNO and hope that the company is not punished too badly by poor ticket sales.

Available at Amazon: Janáček, Jenůfa, Elisabeth Söderström, Eva Randová, Vienna Philharmonic, Charles Mackerras

English-speaking audiences owe our chance to know the Janáček operas at least partially to the pioneering work of conductor Charles Mackerras. I have been listening to Mackerras's 1982 recording of Jenůfa (original released in 1985), with soprano Elisabeth Söderström in the title role, for years. Yes, Karita Mattila and Leonie Rysanek have made worthy recordings, and indeed there is a surprising number of recordings available for this opera. This one still strikes me as the best one overall, especially at the reduced price ($23.98 at Amazon, for 2 CDs) of the latest re-release, due out on May 8. Mackerras exhibits a profound knowledge of the score, having fought successfully for opera companies to begin using the version preferred by Janáček, rather than the revision forced upon the composer by the Prague National Theater. The rest of the cast is as good as Söderström, especially Eva Randová (the Kostelnička), Wieslaw Ochman (Laca), and one Lucia Popp in a small role (the mayor's daughter, Karolka).

The story centers on a beautiful young girl in a Moravian village and her relationship with the young owner of the local mill, Števa, who has gotten her pregnant. Števa's thoughtless, drunken behavior irritates Jenůfa's domineering stepmother, whom everyone calls the Kostelnička, or the sacristan's wife (an important position in the village church). A distant relative, Laca, is also in love with Jenůfa and out of jealousy threatens the girl and slices her face with a knife at the end of Act I. Jenůfa gives birth to a baby son while hidden away by her stepmother, but the scar on her face and the baby drive Števa to get engaged to the mayor's daughter instead. The Kostelnička knows that Laca still wants to marry Jenůfa, but something has to be done about Števa's baby. In many ways, the role of the Kostelnička, who tries to resolve the situation, is the most important one in the opera. In fact, the opera's actual Czech title is Její pastorkyňa (Her stepdaughter), the title of the source work, a play by Gabriela Preissová.

There are so many beautiful moments in the score, beginning with the nervous pulse of the xylophone in the first act. Is it the strengthening pulse of the baby in Jenůfa's womb, or her own agitated heart leaping repeatedly into her throat? Since we hear it only in Act I, the most plausible theory is that it incarnates the ticking of the mill wheel, which is the setting only in the first act. (Alden's production, which updates the story to what looks like the 1950s or 60s, turns the mill into a factory.) Janáček uses folk material in an ingenious, natural way in the dance of the workers in the first act, as well as the bridal song offered to Jenůfa and Laca before the third act's tragic conclusion. This is a significant improvement over the almost kitschy folk material in Smetana's Bartered Bride, for example.

The numerous impassioned soliloquies by the solo violin throughout the score, especially in Acts II and III, are luscious. It first breaks out memorably just before the Kostelnička makes her fateful tragic decision regarding Jenůfa's child, trying unsuccessfully to turn the stepmother away from her plan. Janáček turns again and again to gently oscillating, static harmonies -- a good example is at the opening of Act III. Having absorbed the lessons of Wagner, Janáček creates a continuous thread of narrative sound. The score is not broken into anything that could be called a number or an aria, although there are scenes that could be adapted as excellent concert pieces, like the simple setting of the Salve Regina in Act II, as Jenůfa prays for the safety of her baby. There are no real Leitmotifs, but the instruments of the orchestra often repeat themes sung by the characters, interlacing them in close counterpoint.

After the outraged villagers storm the Kostelnička's house at the end of the opera, Janáček somehow weaves a transcendent scene of clemency out of the reconciliation of Jenůfa and Laca. The ostinato melody that soars repeatedly above the scene in the violin section, over the bubbling of strings and harp, is what makes the closing scene of human mercy sublime. This recording is further to be recommended because Mackerras included the alternate ending of Act III and the Zárlivost (Jealousy) overture that began the opera but was ultimately discarded by Janáček (a good decision).

London / Decca 414 483

Tickets remain for all performances of Jenůfa, scheduled for May 5, 10, 13, 16, 19, 21, and 24. Students and young professionals, ages 18 to 35, should join the WNO's Generation O program to qualify for tickets at significantly reduced prices. Anyone who cares about excellent music drama should attend.

A Visit To The Portrait Gallery

While in the capital of the free world last week, to cover the opening of Art D.C., I arrived at the convention center early and started walking down 9th Street, to see the Jasper Johns exhibit at the National Gallery. Well, along the way the newly renovated Donald W. Reynolds Center/Smithsonian American Art Museum and National Portrait Gallery -- say that real fast -- caught my eye. I had been wanting to see the galleries since they opened last year: just a quick look, then on to Jasper.

OK, I stayed for two and a half hours: there were only a few visitors, so I could easily have spent the whole day. The collection is amazing, with temporary exhibits combined with a massive permanent collection of portraits of presidents, political leaders, Native Americans, and famous faces from throughout U.S. history. The portrait artists themselves are a Who’s Who of artistic talent, the Peale family, Trumbull, Stuart, Sargent, and Bingham. George Catlin’s documentary images of Native American tribes, from his five expeditions to the then-frontiers, are also part of the collection, as is a beautiful big Bierstadt landscape; displayed in its own mini-chapel.

The building, the former U.S. Patent Office, was the third public building constructed in the District of Columbia, by order of then-president Andrew Jackson. That tells me something of the importance that creativity and invention played in the growth of the country. The third floor of of the building was the original National Gallery. If you're looking for a patriotic boost or to be reminded of our feisty political past, this is the place to visit, and I say that without having time to visit the presidential portrait galleries.

Two temporary exhibits of note are Passing Time: The Art of William Christenberry and Saul Steinberg: Illuminations. Christenberry is an artist I’ve just begun to follow: he’s known for his simplified paintings, collages, sculpture, and building constructions, which delve into the history and culture of his native Alabama; I am really enjoying his work.

The greatest doodler of the 20th century, hands down, is Saul Steinberg. If you're wavering on that thought, then you have until June 24th to see this show. Included are many of his sketches and drawings for The New Yorker magazine covers and, in addition, many images never previously exhibited.

For me it's a memory trip through the 60s and 70s: his work was everywhere, and his pen could could get right to the heart of issues great and mundane. I thought of him as the Daumier of our time.

The third floor contemporary galleries currently display a pretty solid group, with work by Nam June Paik, Wayne Thiebaud, a few very good Alice Neel portraits, including The De Vegh Twins and this self portrait; she spared no one. David Parks' Woman With A Red Mouth, shown above, is a riot. Of the work I got to see, the Sargent portrait of Elizabeth Winthrop Chandler, the George Inness landscape, Niagra and a portrait of Baltimore's, Cardinal Gibbons, stayed with me.

I'm glad the gallery is open once again. In its new home, I will be back often. More images from my visit here.

Academy of Ancient Music, National Gallery of Art

As perhaps the high point of the National Gallery of Art’s sixty-fifth season of free concerts, last Sunday the U.K.-based Academy of Ancient Music delivered. Forty minutes before the doors opened, a line had formed that snaked down the east wing and looped all the way around the large atrium. This young, gentrified audience was eager to hear early music performed by specialist musicians who do not spend 90% of their time performing only music written by Mozart and later composers. Can one even imagine members of the upper strings, winds, and brass sections of America’s symphony orchestras performing standing up?

The program was led from the harpsichord by Richard Egarr and included works by Handel, Telemann, and J. S. Bach. With lots of eye contact, Egarr’s interactions with the group of about twenty musicians alternated from being very active to completely still. Instead of racing in brisk movements as some specialist groups do, Egarr’s tempi made sure that each movement was strong and grounded and allowed the musicians enough space to shape phrases with interesting detail.

The Concerto Grosso, op. 3, no. 2 of Handel opened the program, while the Concerto Grosso, op. 3, no. 1 closed it. The opening Vivace movement that began the program had some coordination problems between the sections of the group due to the very wet acoustic of the NGA’s West Garden Court. The narrow room with incredibly high ceilings muddied the bass sounds of the orchestra, which was no fault of the musicians. For the rest of the program, the group became more comfortable with the acoustic. The oboe solo by Frank de Bruine in the super-mellow Largo movement of this concerto was very delicate, with fluid ornamentation. The Brandenburg Concerto No. 4 of Bach featured Pavlo Beznosiuk deftly playing the bariolage figures in the Presto movement, though not with ease. In the Allegro movement, Beznosiuk took the liberty of turning his solo bits into something resembling a recitative by drastically slowing the tempo. This was perhaps over-indulgent and caused the movement to lose cohesion because of the tempo change.

Written in honor of Hamburg’s maritime industry, the ten-movement Water Music Suite of Telemann featured various French dance forms. In particular, the Louré depicting “Neptune in Love” had a fascinating rhythmic structure. The concluding Canarie somewhat sweetly depicted “The Merry Sailors.” The Largo in the concluding Concerto Grosso of Handel offered a variety of solos. For example, first there was the oboe and 1st violin in unison, then oboe and recorders in unison, then oboe and violin back in forth, then back to oboe and violin in unison, and finally ornamental runs by the oboe and violin to set the half-cadence before the final Allegro movement. Egarr described the encore – the final movement of Handel’s fifth opus 3 concerto – as “more over-caffeinated Handel…think of it as hairy monster chasing a smaller, less hairy monster.”

There are twice as many free concerts at the National Gallery of Art in May and June, with the addition of Wednesday concerts every week at 12:10 pm. This week, pianist Thomas Hrynkiw plays a recital in the East Building Auditorium (today, 12:10 pm) and soprano Anna Maria Pammer gives a recital of music by Berg, Schoenberg, and Webern with pianist Markus Vorzellner (May 6, 6:30 pm) in the West Building Lecture Hall.

Louis Lortie at Shriver Hall

Lortie on Disc: Chopin Etudes Chopin Preludes etc. Chopin Etudes: Maurizio Pollini Murray Perahia John Browning Claudio Arrau

Louis Lortie, photo by Kass Kara

After Louis Lortie's most recent appearance in Washington, a recital at the National Gallery last fall, I wrote some very positive things. It was with great anticipation, therefore, that I greeted the Canadian pianist's appearance at Shriver Hall on Sunday evening for a recital of all 27 Chopin etudes. High expectations almost inevitably lead to disappointment, of course: while this performance was a stunning achievement, it was not the tour de force I had hoped. An all-Chopin etudes program is a largely thankless gamble: given the extraordinary technical demands, a few finger slips are inevitable, errors that will be widely noticeable because of the popularity of the works and the great number of flawless recordings available.

As in his concert at the National Gallery, Lortie played on a loaned Fazioli piano. In the Shriver Hall auditorium, the instrument did not have the same ring: the upper range sounded much more clearly than the lower, which was a little muddy, an impression perhaps made worse by Lortie's heavy pedaling. Lortie got off to a slightly rough start with the dozen etudes in op. 10, especially in the relentless right-hand "waterfall" of the first etude and the chromatic passagework of the second. The "torrent" of the C-sharp minor was more consistent, impressively bombastic, as was the "toccata" of no. 7, with all those notes in the right hand lined up nicely. In the slower etudes like the E major and E-flat minor, Lortie leaned toward a hushed, internal, enigmatic quality. In the deadly "black keys" prelude, Lortie lightened up his right hand remarkably, allowing him to voice the inner voices quietly.

After intermission, Lortie began strongly with the Trois Nouvelles Études, pieces left off the printed program, as Lortie explained before he sat down on the bench, but that lead in to op. 25 quite well. The first one of these lesser-known pieces was the most enigmatic, and the last was beautifully murky and understated, giving the impression that Lortie had regained his feet. Indeed, the op. 25 set was much stronger technically, right from the start with a shimmering Aeolian harp etude. Lortie got better and better with a sotto voce F minor (the "bees" heard inside the hive), a delightfully clutzy "wrong note" etude, nearly flawless command of the "thirds" and "sixths," and a booming and rock-solid "octaves." By the time we got to the "winter wind" and the C minor, Lortie was on top of his game. An enthusiastic audience earned itself a substantial encore, a restless rendition of the G minor ballade.

The Shriver Hall concert series is accepting subscriptions for its 2007-2008 season. Yefim Bronfman, Nathan Gunn, Alban Gerhardt, Pierre-Laurent Aimard, the Choir of King’s College, Cambridge, and the Alban Berg Quartet are on the roster.

Rossini's Otello, Washington Concert Opera

We welcome this review from Ionarts guest contributor Sonya Harway.

Elizabeth Futral, soprano

For the conclusion of their 2006-2007 season, the Washington Concert Opera performed Rossini's Otello on Sunday night at GW’s Lisner Auditorium. This opera, now usually eclipsed by Verdi's version, is not often performed, and although the WCO does not stage their works, it was compelling to hear such talented singers performing these roles. Bruce Ford, a Rossini veteran, sang a confident Otello, commanding attention and praise from the packed house even when engaged in vocal battle with three other solo tenors. Kenneth Tarver (Rodrigo) really showed his stuff in the Act I duet with Tanner Knight (Iago). Tarver’s high lyric voice was so flexible and clear that one almost wanted Desdemona to reconsider Rodrigo’s proposal. One was so taken with the men that we nearly forgot about the women, Elizabeth Futral (Desdemona) and Claudia Huckle (Emilia), who only appeared on stage about 30 minutes after the opera had begun.

Available at Amazon: Rossini, Otello, Bruce Ford, Elizabeth Futral, Philharmonia Orchestra, David Parry (2000)

Other Reviews: Tim Page, A Story That Improves With the WCO's Otelloing (Washington Post, May 1) Slightly revised 'Otello' (Washington Times, May 1)

While the music itself is not terribly exciting until the third act, there was plenty of beautiful singing, such as Desdemona's coloratura solo at the end of Act II. The most compelling music is in Act III, where Rossini composed some of his most exquisite material. While I personally favor Verdi’s “Willow Song,” Rossini’s version is infused with a beautiful harp solo, played expertly in this production by Marian Rian Hays. And of course, Futral does not disappoint; even without scenery and staging, we were captivated by her impressive range and haunting emotional delivery.

Bravo to the orchestra, who even when they venture from the pit, are often overshadowed by the singers. I got a fright and then a smile out of seeing a dramatic hand gesture come close to knocking the bow out of concertmistress Eva Cappelletti’s hand. Antony Walker deserves praise for not only directing, but also as Artistic Director for choosing this important and infrequently performed work.

Although Berio di Salsi’s libretto disappointed many contemporary scholars, the opera itself was lauded and held in high regard until Verdi’s even more popular version bumped Rossini’s from the repertory 71 years later. There are some good recordings available, such as the Carreras-Stade recording, but based on the standing ovation on Sunday night, my first pick would be the Ford-Futral CD.

The Washington Concert Opera's 2007-2008 season will again feature two operas: Bellini's I Puritani (September 23, 2007) and another Rossini rarety, Bianca e Falliero (April 13, 2008), starring Vivica Genaux.