Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

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.

La Vestale, La Monnaie, Bruxelles

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.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera



Charles Gounod: Roméo et Juliette
26 Apr 2009

Gounod's Roméo et Juliette at Salzburg, 2008

In 2008 the Salzburg Festival intended to bring back the two stars of their triumphant 2005 La Traviata, Rolando Villazón and Anna Netrebko, for Gounod's Roméo et Juliette.

Charles Gounod: Roméo et Juliette

Nino Machaidze; Rolando Villazón; Mikhail Petrenko: Russell Braun; Falk Struckmann. Konzertvereinigung Wiener Staatsopernchor. Mozarteum Orchester Salzburg.

Deutsche Grammophon 073 4518 [2DVDs]

$34.99  Click to buy

At one time, it might have seemed that Villazón would be the artist to drop out of the production, as in late 2007 he was beset with problems, apparently both personal and vocal, that led him to take an extended hiatus. While he returned to performing, Netrebko and partner Erwin Schrott decided to collaborate on a different production, a child, and the pregnant soprano cancelled her summer Salzburg performance. Who would — or could — replace her?

Nino Machaidze took on the assignment, and with the appearance of that Roméo et Juliette on DVD, the then-25 year old Georgian soprano establishes herself as a rising star. Initially a slight resemblance to Netrebko, both facially and in the dusky beauty of her instrument, may hinder an appreciation of the effectiveness of Machiadze’s performance. But just as Juliet develops from a flighty, free-spirited young girl to a serious, passionate young woman, Machiadze’s appeal grows. She never strives for either showy vocal or histrionic display — unlike her co-star — and her subtle approach draws in the viewer. She has adequate skills for her opening number with its coloratura aspects, and the fullness of voice for the role’s highlight, Juliet’s drinking of the potion for inducing suspended animation. Some may want a more exuberant and tragic Juliet, but for many Machiadze’s steadier approach will win their hearts more honestly.

Other than some passing hoarseness, Villazón shows few signs of his recent troubles vocally. He is a good enough actor that the manic edge he brings to his Romeo may be part of his portrayal, but at times some darkness around the eyes suggests he had not, at that stage, fully recovered his previous confidence. As expected, Salzburg provides an exemplary supporting cast, with Mikhail Petrenko’s relatively youthful Friar Laurence, Falk Struckmann’s ponderous Capulet, and an excellent Cora Burggraaf in what amounts to a cameo aria for Romeo’s page, Stéphano.

Bartlett Sher’s staging manages to be both handsome, energetic, and yet unaffecting. The rich costumes (by Catherine Zuber) and the stark, atmospheric set design (by Michael Yeargan) place the action in France, possibly mid-18th century. Sher employs the usual arsenal of contemporary stagecraft, with ample sex and violence (including a pantomime of a brutal rape during the prelude), singer/performers emerging from the audience, and detailed stage action that seems to give everyone some bit of business to do. Sher delineates characters skillfully, and the stage pictures maintain visual interest. Then why does it feel as if some spark went unstruck? The problem could lie in the material: despite a frequently gorgeous score, Gounod’s Shakespeare adaptation feels uninspired and unimaginative, sticking closely to the original (other than than the pointless expansion of the page character and the regrettable diminution of the Nurse).

Gounod’s music gets a taut, rhythmically propulsive reading from conductor Yannick Nézet-Séguin and the Mozartuem Orchester Salzburg. It’s unfortunate that the rather silly bonus features (mostly travelogue) don’t allow for some insight into how the conductor worked with the musicians and singers to produce such a fine performance.

Make no mistake, this DVD entertains, but it does not have anything like the impact of that 2005 Traviata, and wouldn’t have, it seems safe to say, even if Netrebko had not cancelled. View it to obtain an introduction to Nino Machiadze, an appealing new soprano.

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):