Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

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.

Morgen und Abend — World Premiere, Royal Opera House

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 Combines Classic and Chic in an Exquisite Cinderella

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 of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

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.

Félicien David: Songs for voice and piano

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” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

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.

Moby-Dick Surfaces in the City of Angels

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 at the Dallas Opera

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.

Schubert and Debussy at Wigmore Hall

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.

John Taverner: Missa Corona spinea

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.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

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.

La Bohème, ENO

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 transvestites.

Luigi Rossi: Orpheus

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).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

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. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



Wagner: Arias and Love Duets
08 Apr 2009

Domingo sings Wagner

This two-CD budget series collection brings together two Placido Domingo Wagner recitals, the first from 2000, with Deborah Voigt receiving co-billing, and the second from 2002.

Wagner: Arias and Love Duets

Natalie Dessay, Deborah Voigt, Placido Domingo, Violeta Urmana. Royal Opera House Covent Garden Orchestra. Antonio Pappano, conducting.

EMI Classics 3 97683 2 [2CDs]

$12.99  Click to buy

Together, the discs present a picture of what a full Domingo performance of the character Siegfried would be like, as well as offering what turned out to be a preview of Domingo as Tristan (he recorded the complete role a few years later for EMI). Here Voigt as Isolde joins Domingo’s Tristan for the act two love duet, with a wonderful concert ending that allows for the two lovers to finally achieve earthly bliss.

In the act three Siegfried duet, Voigt tends to dominate. She has announced intentions to perform Brünnhilde in the future. It may not be wise to take these performances as a guide to what her stage assumption would be like, as these recordings date back a few years, before her well-publicized surgery to reduce her weight. However, she easily bests Domingo, in an artistic sense, with the full feminine power of her voice in evidence. Domingo’s act three Siegfried is his least impressive singing of the set, giving off a strong sense of the singer with his face in the score, the role not yet fully in his possession.

The Tristan und Isolde selection, however, finds Domingo employing the darker colors of his voice to fine effect. His Tristan is as heroic in his lovemaking as he had proved himself to be on the battlefield. That romantic, arguably Latin tinge to Domingo’s tone works well in this music, although elsewhere a whiff of impersonation can be sensed. As mentioned above, Wagner re-composed the end of the duet for a concert performance, and this alone makes this Domingo/Voigt performance cherishable, as their voices combine ecstatically in the same music that Isolde usually has to her lonesome self at the end of the opera proper.

Disc two presents the acts one and two highlights of Siegfried’s music from the eponymous opera and Götterdämmerung. Domingo roars through a lusty forging aria, and the forest scene also boasts some lovely singing, capturing Siegfried’s wonder. Natalie Dessay “guest stars” as a very twittery Forest Bird. The more tragic Siegfried of the last Ring opera finds Domingo singing handsomely but with the drama somewhat forced, artificial. Violetta Urmana, the Brangäne on disc one, here assumes Brünnhilde, imposingly enough for her brief appearance.

The most consistent strength of both discs comes from Antonio Pappano’s leadership of the Covent Garden orchestra, an exciting blend of precision and drama. Sound is first-class.

EMI offers a note by Peter Branscombe that supplies some summary of the action; it is at least understandable that most people purchasing a set like this already have some familiarity with the material. Overall, a very entertaining set and at EMI’s new price point, quite the bargain.

Chris Mullins

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):