Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

News

Die beste hochdramatische Sopranistin der Gegenwart

By Manuel Brug [Die Welt]

Sie entäußert sich auf der Bühne, gibt perfekt eine vollkommen gestörte Frau, die moderne Mörderin: Die Schwedin Nina Stemme ist die ideale Heroine. Zu Hause mag sie das komplette Gegenteil.

[More . . . . ]

“Tarquin” an der Berliner Staatsoper: Vom Werden eines Diktators

By Benedikt von Bernstorff [Der Tagesspiegel]

Ernst Krenek hat seine Kammeroper „Tarquin“ 1940 im US-Exil geschrieben, nach der Uraufführung 1950 präsentiert die Werkstatt der Staatsoper im Schillertheater erst die dritte Produktion des Werks. Dabei beweist Krenek, dass sich mit der Zwölftontechnik der Schönberg-Schule effektvolles Musiktheater schreiben lässt. Die Partitur ist für zwei Klaviere, Geige, Klarinette, Trompete und Schlagzeug instrumentiert, die musikalische Dramaturgie suggestiv, tonale Anklänge und ein leitmotivisch eingesetztes Thema mit Sehnsuchtsintervall und Rosenkavalier-Appeal erleichtern den Zugang.

[More . . . . ]

Moses und Aron, Komische Oper Berlin

By Shirley Apthorp [FT, 21 April 2015]

Holocaust references are a delicate matter on any stage, but a defensible choice in a production of Arnold Schoenberg’s monolithic Moses und Aron. Here, the mountain that Moses descends is a vast pile of Jewish corpses.

[More . . . . ]

Death Clown for Cutie (Cav and Pag at the Met)

By Micaela [Likely Impossibilities, 19 April 2015]

Men are sensitive and easily injured souls, as ten minutes in any internet comment section would tell you. Such is also the gist of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci, the august double bill of verismo which presents us twice with the even more august situation of baritones interfering with soprano-tenor relationships and it all getting very bloody. In the Met's new production, Fabio Luisi makes these high octane scores sound quite classy, but otherwise the two diverge: a dreary, clunky Cav is followed by a fun and punchy Pag. Oh, one other thing in common: for better and for worse, Marcelo Alvarez is the tenor. I shouldn't be putting that last, which might give you an idea of what is going on here.

[More . . . . ]

A broken heart in a bloodstained nightgown

By Phillip Larrimore [14 April 2015, The Charlotte Observer]

Opera Carolina’s production of “Lucia di Lammermoor” at Belk Theater is elegantly set, handsomely lit, fleetly conducted, and sung with high virtuosity, especially among the principals.

[More . . . . ]

Voices in space: Meredith Monk & friends construct musical cathedrals at 50-year anniversary concert

By Rebecca Lentjes [bachtrack, 5 April 2015]

“The rhythm of words takes away from my sense of rhythm,” Meredith Monk explained after a riveting performance of her piece Things Heaven and Hell by the Young People’s Chorus of New York City. The third part of Ms. Monk’s 1992 work Three Heavens and Hells, this piece was one of only a handful to incorporate real words in the entirety of the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall last weekend.

[More . . . .]

Beyond Falstaff in ‘Die lustigen Weiber von Windsor’: Otto Nicolai’s Revolutionary ‘Wives’

By John R Severn [Music & Letters, February 2015]

This article explores how Otto Nicolai and Salomon Hermann von Mosenthal’s Die lustigen Weiber von Windsor (Berlin, 1849) might contribute to an alternative reception history of Shakespeare’s The Merry Wives of Windsor, in which the play’s unusual features—in particular the central role it gives to female agency, family life, and the natural world—are positively valued.

[More . . . . ]

Scheherazade.2: Violin, cimbalom and female empowerment star in John Adams’ new work

By Rebecca Lentjes [Bachtrack, 28 March 2015]

John Adams has been known to draw inspiration from American writers—Walt Whitman, E. Annie Proulx—for his works, but his most recent composition, Scheherazade.2, is presented as a musical sequel of sorts to the sprawling Middle Eastern collection One Thousand and One Nights. Mr Adams explained at the piece’s world première on Thursday…

[More . . . .]

Haydn’s Die Jahreszeiten in Istanbul

By Robert Hugill [Planet Hugill]

Joseph Haydn’s last oratorio Die Jahreszeiten (The Seasons) was conductor Sascha Goetzel's choice for the first oratorio performance by his Borusan Istanbul Phiharmonic Orchestra in the Istanbul Lütfi Kirdar ICEC on Thursday 12 March 2015. Goetzel and the orchestra were joined by soloists Miah Persson, Ian Bostridge and Duncan Rock, and the Salzburg Bach Choir.

[More . . . . ]

Spring Gala: Cream of the Crop!

Monday, March 30, 2015, 7pm
Weill Recital Hall at Carnegie Hall

Hear the stars of tomorrow today in a spectacular gala evening celebrating New York Festival of Song's Emerging Artists programs! Over the past decade, NYFOS has taken a growing interest in mentoring, coaching, and nurturing some of the most promising young vocalists of our era. Many opera programs exist for young artists but there are very few that focus only on the art of song. It is the most exposed and direct kind of performing—no costumes of make-up to mask one's vulnerability—just the musicianship, intelligence, and honesty of the singer. Over 100 young talents have participated in NYFOS residencies and some of our most distinguished alumni will appear in the gala, including Paul Appleby, John Brancy, Julia Bullock, Theo Lebow and Annie Rosen.

[More . . . . ]

Get out of the goove! Now Radio 1 bans Madonna, 56, for being 'irrelevant and old' for its teenage listeners

By Chris Hastings [Daily Mail, 14 February 2015]

She has dominated the airwaves during 30 years as a chart-topper, but now Radio 1 has decided that Madonna is an immaterial girl and just too old for its teenage listeners.

Despite her determined efforts to look - and sound - youthful, the 56-year-old has been dropped from the station’s playlist that determines which songs are played by DJs during the day.

[More . . . . ]

Syracuse Opera’s ‘A Little Night Music’ a little too lean

By David Abrams [CNY Café Momus, 6 February 2015]

There’s little point in arguing whether Stephen Sondheim’s A Little Night Music is, at its core, a musical or an operetta. It could be either, depending on the resources put into the production effort. Syracuse Opera chose to trumpet the work as “operetta,” not musical theater, during the weeks leading up to Friday’s premiere. And that label calls into question the company’s use of a chamber-sized pit orchestra.

[More . . . . ]

A Definitive New Callas

By Michael Shae [The New York Review of Books, 24 January 2015]

Maria Callas converted me to opera. I am sure I am not unique in this, except in the particulars. In my early college years I immersed myself in recordings of the nineteenth-century symphonic repertory—Beethoven, Schubert, Brahms, Bruckner, the Russians—but for a long time I refused to listen to opera, would listen to an overture and then rush to change the record before the singing started. Then one day my roommate put Callas’s 1953 Tosca on the turntable and dropped the needle onto “Vissi d’arte.” I had no idea what she was singing, but near the conclusion of that imploring aria, as she comes to the end of the arching wordless phrase that soars from an A down slightly to a G, there is an audible intake of breath. She gasps—or is it a sob?

[More . . . . ]

alt folks at home

By John Yohalem [Parterre Box, 25 January 2015]

Operamission, a scrappy little company that performs music from all sorts of eras and styles in venues all over town, is in fact its Kapellmeisterin, Jennifer Peterson. Her latest brainstorm was to give A Countertenor Cabaret, starring no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square, and to live-stream the entire event, with translations of the remarkably varied musical fare.

[More . . . . ]

The Met’s ‘La Traviata’ lean on glamour, rich in insight

By David Abrams [CNY Café Momus, 17 January 2015]

Beyond the austere set and surreal visuals, Willy Decker’s controversial 2010 Met production probes deeply into the heroine’s psyche.

[More . . . . ]


NEWS ARCHIVES »

Archives

Most Recent Archives

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France »

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.  »

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’. »

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.  »

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.  »

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.  »

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).  »

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints »

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.  »

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.  »

Archives by Category

There are 6745 entries to date.