Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

OPERA TODAY ARCHIVES »

Performances

24 Jan 2005

Schumann's Genoveva at Volksoper Wien

Robert Schumann hat seine Spitzenposition in der Musikhistorie: herrliche Symphonien, wunderbare Kammermusik, großartige Lieder. Doch er hat auch eine Oper hinterlassen: Genoveva. Eine Komposition auf ein eigenes, ungelenkes Libretto, das durch die Zeiten geistert und weder sanfte Ruhe noch dauerhafte Wiederbelebung erfahren kann.

Kritik Volksoper: Widergängerin aus deutschem Tann

VON STEFAN MUSIL (Die Presse) 25.01.2005

Schumanns "Genoveva", einmal mehr auf Lebensfähigkeit geprüft.

Robert Schumann hat seine Spitzenposition in der Musikhistorie: herrliche Symphonien, wunderbare Kammermusik, grossartige Lieder. Doch er hat auch eine Oper hinterlassen: Genoveva. Eine Komposition auf ein eigenes, ungelenkes Libretto, das durch die Zeiten geistert und weder sanfte Ruhe noch dauerhafte Wiederbelebung erfahren kann.

Schumanns Wunsch nach einer Oper war offenbar gross, er verwarf zahlreiche Ideen, darunter die Nibelungen. Angeregt durch Genoveva-Dramen von Tieck und Hebbel, entschied er sich endlich fürs Schicksal der standhaften Gräfin, die vom bösen Golo bedrängt wird, ihn zurückweist und schimpft, worauf der Fiesling sie des Treuebruchs beschuldigt. Der aus dem Krieg heimkehrende Gatte, falsch informiert, überlässt sie der Todesstrafe. Nur in letzter Minute kann das Schrecklichste abgewendet werden.

Click here for remainder of review.

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):