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

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

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):