Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Macbeth in Lyon

A revival of the Opéra de Lyon’s 2012 Occupy Wall St. production of Verdi’s 1865 Macbeth, transforming naive commentary into strange irony, some high art included.

Barber of Seville Is Fun in Tucson

On March 4, 2018, Arizona Opera presented Gioachino Rossini’s The Barber of Seville in Tucson. Allen Moyer designed the bright and happy scenery for performances at Minnesota Opera,

Moody, Mysterious Morel

Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel.

Acis and Galatea: 2018 London Handel Festival

Katie Hawks makes quite a claim for Handel’s Acis and Galatea when, in her programme article, she describes it as the composer’s ‘most perfect work’. Surely, one might feel, this is a somewhat hyperbolic evaluation of a 90-minute pastoral masque, or serenade, based on an episode from Ovid’s Metamorphoses, which has its origins in a private entertainment?

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.



04 Dec 2004

Berlioz in Boston

Not strictly opera, but so full of the usual suspects . . . My experience of Berlioz's Dramatic Symphony Romeo et Juliette (R&J) came full circle last night at Boston's Symphony Hall. I had first heard the work live in...

Not strictly opera, but so full of the usual suspects . . . My experience of Berlioz's Dramatic Symphony Romeo et Juliette (R&J) came full circle last night at Boston's Symphony Hall. I had first heard the work live in 1968 when Charles Munch conducted the BSO and soloists Rosalind Elias, Jerold Siena and Donald Gramm. Parenthetically, that's 36 years ago, Ms. Elias's career was at least a dozen years old at the time and she's still singing in San Francisco's Vanessa and directing operas. Quite an achievement.

Last night James Levine conducted the orchestra, the Tanglewood Festival Chorus, Lorraine Hunt Lieberson, Matthew Polenzani and Julien Robbins in a superbly played and sung — and very personal vision — of R&J. In his program note Mr. Levine speaks of how much he loves Berlioz; how gratifying it is to play his music, particularly with America's most French repertory-oriented orchestra; how much Berlioz he will be scheduling with the orchestra in the near term; and how fresh and controversial the composer still is, even in France. While I have heard the work played ravishingly by other conductors, what distinguished this performance was that Levine took seriously the word "Dramatic."

The mezzo and tenor soloists do not portray the characters in R&J; she works with a chamber chorus as narrator and he sings the song of Queen Mab but otherwise does not in any represent Mercutio. The bass does, at the very end, recognizably portray Friar Laurence and the chorus takes the role of the Capulets and Montagues, but it's way to late in the game at that point to make a case for the piece as anything but a symphonic work. The love duets, the death scene and other big moments in the story are all orchestral and it is here that Levine chose to bring his operatic persona to the fore. This purely orchestral music was strongly characterized. The Ball at the Capulets had a festive air but with a strongly menacing undertone, a militant declaration that this was THE party being given by THE family. During the scene in the tomb, the sustained notes by the first clarinet went to the edge of acceptable tone to portray the agonized cries of the dying lovers. Under Levine's direction, string passages in the Introduction and in a couple of other places in the score very firmly pointed the way — in 1839 — to what Wagner would do in the great chromatic string passage that opens the mountain top scene at the end of Siegfried — music that Wagner was to write in the mid-1860s.

The Boston Symphony played magnificently, with some astonishing unanimity and virtuosity of string attack. Brass was rock solid and there was a sustained glow from the stage. The chorus enjoys the directorship of John Oliver and sounded like a French chorus on this occasion. I was delighted to discover a student of mine from a quarter of a century ago, one who used to build and rig scenery for our productions, singing in the bass section. Ms. Hunt Lieberson has always made absolute sense as a French mezzo and her claret-colored voice was in fine condition. Both she and Mr. Polenzani sang with the words well forward, floating ON the tone as is right for the style. His Queen Mab aria is a kind of rapid patter with pinpoint interjections by the chorus — it flew by as light as gossamer with bright, clear tone and complete confidence. Mr. Robbins was a noble, rich-voiced Laurence, his voice placed just a bit too far back in the mouth for ultimate clarity in French music, but in every other way he satisfied.

The audience was extremely enthusiastic.

William Fregosi
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology

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):