Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Cilea's L'arlesiana at Opera Holland Park

In a rank order of suicidal depressives, Federico - the Provençal peasant besotted with ‘the woman from Arles’, L’arlesiana, who yearns to break free from his mother’s claustrophobic grasp, who seeks solace from betrayal and disillusionment in the arms of a patient childhood sweetheart, but who is ultimately broken by deluded dreams and unrequited passion - would surely give many a Thomas Hardy protagonist a run for their money.

Prom 1: Karina Canellakis makes history on the opening night of the Proms 2019

The young American conductor Karina Canellakis made history as the first woman to conduct the First Night of the Proms last night (19 July 2019) as she conducted the BBC Singers, BBC Symphony Chorus and BBC Symphony Orchestra at the Royal Albert Hall with soloists Asmik Grigorian (soprano), Jennifer Johnston (mezzo-soprano), Ladislav Elgr (tenor), Jan Martiník (bass) and Peter Holder (organ) in Zosha Di Castri's Long is the Journey, Short Is the Memory (the world premiere of a BBC commission), Antonin Dvořák’s The Golden Spinning Wheel and Leoš Janáček’s Glagolitic Mass.

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

OPERA TODAY ARCHIVES »

Performances

13 Dec 2004

A Wedding in Chicago: Two Reviews

Altman opera a fitting renovation By Bill Gowen Daily Herald Classical Music Critic Posted Monday, December 13, 2004 It's rare that a film director has an opportunity for a do-over. But Robert Altman is no ordinary director, having created several...

Altman opera a fitting renovation

By Bill Gowen Daily Herald Classical Music Critic
Posted Monday, December 13, 2004

It's rare that a film director has an opportunity for a do-over.

But Robert Altman is no ordinary director, having created several of the most honored films of the past 40 years.

But even he will admit "A Wedding," filmed in Lake Forest in 1977 and released by 20th Century Fox the following year, isn't on the same exalted plane as "McCabe and Mrs. Miller," "Nashville" or "M*A*S*H." So when composer William Bolcom approached him about turning "A Wedding" into an opera, Altman wasn't all that enthusiastic.

But their successful Lyric Opera collaboration with "McTeague" in the 1992-93 season remained fresh in Altman's mind, and after several years' contemplation, the operatic "A Wedding" was born, with Altman the stage director and co-librettist (with Bolcom's longtime librettist, Arnold Weinstein). This creative team has come up with another operatic winner in a comedy of manners that presents a glimpse of a societal clash between two disparate families, one of them uncultured and nouveau riche from Louisville, the other a snobbish, high-society clan from the North Shore. Both are hiding numerous dark secrets from their past.

[Click here for remainder of article.]


Bolcom Musically Weds the Old Money to New

By ANTHONY TOMMASINI

CHICAGO, Dec. 12 - Most composers count themselves lucky to secure even one commission from a major opera company. William Bolcom has had three in relatively quick order from one America's leading companies, the Lyric Opera of Chicago. The first resulted in the intense and gothic "McTeague," of 1992. Then came "A View From the Bridge" in 1999, a work Mr. Bolcom described as his journey into "Brooklyn verismo." On Saturday night the Lyric Opera presented the world premiere of "A Wedding," adapted from Robert Altman's 1978 film.

I wish I could report that the Lyric Opera's admirable faith in Mr. Bolcom, a prodigiously skilled composer, has emboldened him. But musically "A Wedding" plays it safe. In some ways it is the least compelling of the three works, each written with Mr. Bolcom's longtime lyricist, Arnold Weinstein, as librettist.

Be assured that you will have a good time attending "A Wedding." Mr. Altman, who collaborated with Mr. Weinstein on the libretto, has directed the striking production, drawing nuanced and vibrant portraits from a splendid cast. The creators have done an ingenious job of adapting the film into an opera that holds the stage effectively. No small feat, since the film's 48 characters had to be reduced to 16 singing parts.

Based on a story by Mr. Altman and John Considine, the film is a bleakly satirical, class-skewering tale of a wedding between Dino, the rakish son of a wealthy family from the posh Chicago suburb of Lake Forest ("old money" people) and "Muffin," the smitten and vacuous daughter of a trucking magnate from Kentucky ("new money" people who haven't yet acquired the snobbish pretensions of the old).

Still, music should come first in opera and Mr. Bolcom takes a frustratingly deferential role, as if he were afraid to impede the stage show or undermine a sight gag. The score is filled with snappy songs and dance numbers, extractable arias, clever ensembles and pleasing bits. But after a while the music seems slight. I wish Mr. Bolcom had tried to entertain his listeners a little less and challenge them a little more.

[Click here for remainder of article.]

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):