Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Recordings

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Donizetti: Les Martyrs

As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Bernarda Fink Sings Mahler Lieder

Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

This live performance of Laurent Pelly’s Glyndebourne staging of Humperdinck’s affectionately regarded fairy tale opera, was recorded at Glyndebourne Opera House in July and August 2010, and the handsomely produced disc set — the discs are presented in a hard-backed, glossy-leaved book and supplemented by numerous production photographs and an informative article by Julian Johnson — is certainly stylish and unquestionably recommendable.

Magdalena Kožená: Love and Longing

Recorded at a live performance in 2012, this CD brings together an eclectic selection of turn-of-the-century orchestral songs and affirms the extraordinary versatility, musicianship and technical accomplishment of mezzo-soprano Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

Once I was: Songs by Ricky Ian Gordon features an assortment of songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime friend of the composer since their work on his opera Morning Star at the Lyric Opera of Chicago.

Amore e Tormento

Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 

Verdi at the Old MET

With celebrations of the Verdi Bicentennial in full swing, there have been many grumblings about the precarious state of Verdi singing in the world’s major opera houses today.

Italo Montemezzi: L’amore dei tre re

In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions. 



George Frideric Handel: Teseo
10 Oct 2005


“Teseo” is one of those “might have been” Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handel’s genius is simply too good a chance to miss.

George Frideric Handel: Teseo

Medea: Maria Riccarda Wesseling, mezzo-soprano; Teseo: Jacek Laszczkowski, soprano; Agilea: Sharon Rostorf-Zamir, soprano; Egeo: Martin Wolfel, countertenor; Arcane: Thomas Diestler, countertenor; Clizia: Miriam Meyer, soprano. Vocalists from the Martin-Luther-University Halle-Wittenberg, Department of Musical Education. Orchestra: Lautten Compagney Berlin (on period instruments). Music Director: Wolfgang Katschner. Stage Director: Axel Köhler. TV Direction: Ute Feudel. Filmed at the Schlosstheater Neues Palais at Potsdam, 2004.

Arthaus Musik 100 708 (PAL) / 100 709 (NTSC) [DVD]


Why odd? Well, for one thing it is something of a throwback to an earlier French dramatic form, having a full five Acts (rather than the more usual three) wherein the major characters often sing arias or ariosi back to back. Also unusual is the complete lack of a significant bass-baritone or tenor role: all six protagonists are within the range of countertenor, mezzo-soprano or soprano — both male and female varieties. A single lower male voice appears in the very last scene as the convenient “deus ex machina” to neatly solve the lovers’ tangled situations — although the singer doesn’t appear to get a credit on this DVD recording.

This is a televised version of the original performances at the Halle festival in 2003, and of a later tour to the UK in 2004, although the singers are, with two exceptions, from the later performances. Having seen the London performance last year, this DVD certainly enhanced many aspects of the production that had failed to engage at the time — notably the acting of male soprano Jacek Laszczkowski in the title role and the production dynamic of the “Furies” scenes — both very much lacking that evening.

Overall though, the production for the camera is frustratingly mediocre — too many chances missed by the director to enhance the viewer’s sense of the drama going on before their eyes, too many meaningless close ups and sometimes it’s almost “cutaways by numbers” — someone sings about their hands, you get a shot of their hands….and so on. However, more successful are the low-key but efficient sets, (sliding panels, reflective materials) and colourful “textbook mythic Greece with added camp” costumes which help to create and maintain an atmosphere of rising passions and threatening danger from the Underworld.

Here the “wicked witch” figure of Medea is ravishingly played by Maria Riccarda Wesseling who certainly takes the honours for full-on acting and, together with Laszczkowski and Sharon Rostorf-Zamir as the woman that, in true Handel/Haym style, two men love, dominates in vocal distinction too. Unfortunately, there is a wide gap in quality between the high male voices: the Polish male soprano is here very secure and effective, sounding amazingly clear-toned even up at his highest reaches (and he sings remarkably high), and he does it all with admirable dramatic commitment. However, young Thomas Diestler’s alto (as Arcane) suffers until the latest Acts with that unfortunate, but all too common, affliction of the nervous or inexperienced CT: the “yodelling” tone that barely hides the root baritone below. Interestingly, this almost disappears, and you hear what he could sound like, in a faster, more assertive aria in Act Four, “Benche tuonie l’etra avvampi” so perhaps there is better to come. In London we had Johnny Maldonado as the weedy King Egeo, but here it is the less successful Martin Wolfel — a pale and rather unmemorable CT voice and a singer who looks uncomfortable on the stage. If Wesseling shows her vocal and dramatic experience as the conniving Medea, relishing the coloratura throughout, then she is matched in vocal dexterity and appeal by Rostorf-Zamir singing the role of the heroine Agilea. The role of second female lover, Clizia, is accurately and sweetly sung by a young Miriam Meyer.

Despite the vocal unevenness, and occasionally exasperating TV direction, this production is still one to recommend to all Handel enthusiasts: one feels that everyone is batting for the same side, the music is paramount (in spite of the almost de rigueur current European delight in adding superfluous sex scenes) and the composer is well served by an excellent period band under Katschner. It may not convince anyone that “Teseo” is the next “Rodelinda”, “Rinaldo” or “Guilio Cesare”, but at least we have another Handelian opera safely into the modern visual catalogue.

© Sue Loder 2005

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):