Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Songs for Nancy: Bampton Classical Opera celebrate legendary soprano, Nancy Storace

Bampton Classical Opera’s 25th anniversary season opens with a concert on 7th March at St John’s Smith Square to celebrate the legendary soprano Nancy Storace.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A newly discovered song by Alma Mahler

It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.



Carl Maria von Weber: Der Freischütz
14 May 2009

Weber’s Der Freischütz at Zurich Opera House

On any list of great but seldom-performed operas, Carl Maria von Weber's Der Freischütz must rank high.

Carl Maria von Weber: Der Freischütz

Ottokar: Chenye Davidson; Kuno: Werner Gröschel; Agathe: Inga Nielsen; Ännchen: Malin Hartelius; Kaspar: Matti Salminen; Max: Peter Seiffert; A Hermit: László Polgár; Kilian: Volker Vogel; Samiel: Raphael Clamer. Zurich Opera House Chorus. Zurich Opera House Orchestra. NIkolaus Harnoncourt, conductor. Ruth Berghaus, director. Hartmut Meyer, set design. Marie-Louise Strandt, costumes.

Arthaus Musik 107011 [2DVDs]

$34.49  Click to buy

Its combination of lush early Romanticism and German folk tale, both grim and gay, doesn’t seem to register outside of its native country. The score mostly lives on in frequent playings by classical radio stations of the magnificent overture. But there is much, much more great music in this score, and any production that manages to draw an audience into the eerie world of the opera deserves respect.

This 1999 staging by Ruth Berghaus has appeared on DVD before, and Arthaus Musik is to be thanked for this re-release. A traditional staging might work, but it would have to be done with remarkable taste. The vaguely Faust-like story centers on a failure of a hunter, Max, who wants to win the hand of Agathe. Kaspar owes his soul to a devil figure, Samiel, but Kaspar hopes to manage his escape by tricking Max into taking his place. To ensnare Max, Kaspar produces magic bullets that can help Max earn Agathe’s respect as a hunter. At the climax, Kaspar thinks he has manipulated Max into shooting Agathe, but instead, he ends up taking the last magic bullet himself.

Berghaus employs some of the familiar tropes of regie-theater, including men in overcoats and fedoras and a stark set of golden-hued floor and walls. The set shifts into various conformations, with a pit appearing at one point, as well as shifting ramps and an opening high up on one wall for Agathe to appear in before the final shot. The audience takes awhile to settle into Barghaus’s vision, and when Max’s first shot with a magic bullet produces a veritable avalanche of black feathers, chuckles are heard. Soon the off-kilter set and stylized movement cohere into a vision of a foreign yet familiar world, one that suits both the folk nature of the tale and the supernatural elements.

An excellent cast gives itself over to Berghaus’s vision. Matti Salminen dominates as Kaspar, his weighty yet never ponderous bass managing to be both avuncular and ominous as necessary. The leads in a tale such as this tend to be anonymous creatures, but both both Peter Seiffert as Max and Inga Nielsen as Agathe find interesting angles, under the direction of Berghaus. Seiffert’s anxious Max appears as an outsider to the mainstream of village life from the start, an early version of the “misunderstood bad boy” James Dean supposedly invented. Although the libretto doesn’t provide much interaction between the two romantic leads — they don’t even appear together until the middle of act two — Nielsen and Seiffert both suggest the torment of their thwarted romance. Although she is done no favors by the close-ups, Nielsen sings youthfully, except for a tendency for extended high notes to lose tone. Malin Hartelius, as Agathe’s friend Ännchen, however, steals her scenes with the heroine, employing a rich, warm mezzo.

The appearance of the Mephistopheles character, Samiel, produces a suitable chill, and the entire Wolf’s Crag scene manages to be, if not exactly scary, disturbingly weird. Berghuas still respects the intimate moments of the opera, such as Agathe’s second act aria, by letting the focus remain on the singer and not introducing distracting stage business.

The excellent sound captures some audience noise, but nothing too detrimental. Nikolaus Harnoncourt has a reputation for idiosyncratic tempos, but his reading here is well-paced and colorful.

To all but those utterly resistant to non-traditional stagings, this Der Freischütz can be considered a DVD classic. Pick it up if you missed it on its first go-round.

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):