Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Monsters and Marriage at the Aix Festival

Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.

Debussy: Pelléas et Mélisande

So this was it, the Pelléas which had apparently repelled critics and other members of the audience on the opening night. Perhaps that had been exaggeration; I avoided reading anything substantive — and still have yet to do so.

OPERA TODAY ARCHIVES »

Performances

08 Mar 2005

Die Walküre at Covent Garden

Any production of Wagner’s Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera’s new production, though, that turns out to be not such a good thing at all.

Die Walküre

Royal Opera House, London

Andrew Clements [The Guardian, 7 Mar 05]

Any production of Wagner's Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera's new production, though, that turns out to be not such a good thing at all.

Click here for remainder of article.


Bryn Terfel's First Wotan as Horns and Hounds Bay

By PAUL GRIFFITHS [NY Times, 7 Mar 05]

LONDON, March 6 - The new Covent Garden production of Wagner's "Ring" revolved Saturday night into its second quadrant, with a performance of "Die Walküre" every bit as exciting as the "Rheingold" in December. Once again, the excitement was thoroughly and fundamentally musical, its dual sources in the singing and in the pit, where the company's music director, Antonio Pappano, made the score consistently intense and animated.

Click here for remainder of article.


Wo sich Wotan die Finger verbrennt

VON PETRA HAIDERER [Die Presse, 08 Mar 05]

Covent Garden präsentiert eine neue "Walküre" - Vorhang auf zum Sammelsurium lächerlicher Einfälle!

Der "erste Tag" von Wagners Büh nenfestspiel knüpft optisch direkt am "Vorabend" - Rheingold (Pre miere Dezember 2004) - an. Hunding hat offenbar den Göttern die Möbel abgekauft (Bühnenbild: Stefanos Lazaridis). Er ist bekanntlich ein rauer Bursche, die Ledersessel sind aufgeschlitzt, die raumhohe Terrassentür ist zerbrochen. Schmächtig statt "mächtig" haben die Wurzeln der Esche Platz. Den schönen Marmortisch der Götter hat der Haudegen unversehrt gelassen. Ein Glück, denn über den kullert Siegmund abgehetzt ins Zimmer. Sieglindes Gemach hängt schräg im Raum, einige Stufen führen hinauf. An der Decke surrt leise ein grosser silberner Ventilator.

Click here for remainder of article.


Royal season centrepiece leaves much to be desired

By Andrew Clark [Financial Times, 7 Mar 05]

After a decade of famine, London is feasting on Richard Wagner's four-part epic Der Ring des Nibelungen.

The longest and most ambitious work ever completed for the opera stage is packing in the crowds not just at the Royal Opera House, where Die Walküre opened on Saturday, but at the Coliseum, where The Twilight of the Gods will next month complete English National Opera's long-gestated Ring.

Click here for remainder of article (subscription to Financial Times online required).


Amid the nonsense, a towering Terfel fulfils his destiny

[Daily Telegraph, 8 Mar 05]

Rupert Christiansen reviews Die Walküre at the Royal Opera, Covent Garden

No opera begins with more tense expectancy than Die Walküre, as Wagner's orchestra depicts the fugitive Siegmund running desperately through a storm.

Illustrating this breathtakingly dramatic music with strobe lighting is the first of many shallow theatrical clichés that mar Keith Warner's new staging - an infuriating mixture of the corny and chic, littered with gimmicky special effects (some of which went horribly wrong) to the detriment of grandeur and credibility.

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):