Recently in Reviews
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
07 Dec 2008
Glyndebourne on Tour — Theatre Royal, Plymouth
Glyndebourne Touring Opera has long been bringing its wares to the further reaches of the southern United Kingdom and its current package of Hansel und Gretel, Carmen and The Magic Flute has been drawing good crowds from Norwich in the east to Plymouth in the south-west.
GTO is all about looking to the future: many of the young singers in the
principal roles are getting their first chance to sing with a company of this
standard, knowing that from here they may, if good enough, progress to not
only the Glyndebourne Festival itself but also other major houses. Also, the
operas are supported by the excellent GT Chorus, and a quick look back
through their rosters over the years will reveal both in the Chorus and the
supporting singers some well known names — the likes of Felicity Lott,
Jill Gomez and Ryland Davies, to name just three who have gone on to
The other great thing about the Glyndebourne “brand” is their
reputation for musical quality and long hours of essential rehearsal time,
both assets that many similarly-sized outfits struggle to achieve in these
straightened times. Young singers need nurturing, and given time to develop
their technical and dramatic skills; I this regard I can think of few better
companies than GTO. What a touring company can also do is teach them the
other vital skill of the successful singer: working to the highest standard
in testing circumstances. Long miles on the road, strange theatres, sometimes
inadequate facilities, unknown audiences and, for many, the need to learn two
or more parts from scratch — and then there is the singing itself.
All these skills were on display recently at the Theatre Royal, Plymouth
where this writer caught both Flute and Carmen playing to
full enthusiastic houses at the end of GTO’s Autumn Tour. Each was
expertly directed, idiomatically conducted and played, and offered a high
standard of vocalism. If Mozart’s renowned pot pourri of fairy-tale,
panto, myth and Masonic ritual relied almost entirely on elegant 18th century
costumes and a clever lighting rig for its effects, GTO brought the versatile
set of guardroom/factory with them for Bizet’s Carmen, plus
the full chorus in traditional Spanish costume. Each worked well, and if the
Plymouth stage seemed a trifle cramped for the latter opera, it was perfect
for Magic Flute. As with many of England’s modern
“one-size-fits-all” theatres, the needs of versatility can
sometimes work against the opera ideal — the Theatre Royal is a good
medium-sized hall, comfortable and modern in its facilities both front and
back stage, but acoustically offers some challenges to unamplified voices.
This showed up most in the recitatives — in both operas — where
more projection was needed than was sometimes supplied. Interestingly, this
was not a problem once the singers actually sang with orchestra in their
With so many excellent young artists on show over the two nights, one
hesitates to mention particular names, as there were absolutely no
“duds” in either pack, but this writer was not alone in noticing
the fine, resonant, easy tone of the South Korean baritone Yonghoon Lee as
Don José in the Bizet. From a hesitant first scene his voice blossomed into
something quite special as he mixed bravura passages with finely-wrought
pianissimos — a name to watch.
Theatre Royal, Plymouth. [Photo courtesy of thisisplymouth.co.uk]
Douglas Boyd (Flute) and Jakub Hrusa (Carmen) directed
the excellent GT Orchestra who never seemed to put a foot wrong in either
ensemble or obbligatos; fine playing on each night.
Sue Loder © 2008