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



A scene from Carmen at the Opéra Comique [Photo by Pierre Grosbois]
02 Jul 2009

Carmen Triumphs (Again) at the Opéra Comique

Bizet’s famed heroine Carmen returned this June to the place where it all began, in a critically-heralded new production by Adrian Noble. Frank Cadenhead was on hand to experience the staging held at the opulent newly-renovated Opéra Comique.

Georges Bizet: Carmen

Carmen: Anna Caterina Antonacci; Don José: Andrew Richards; Micaëla: Anne-Catherine Gillet; Escamillo: Nicolas Cavallier; Le Dancaïre: Françis Dudziak; Le Remendado: Vincent Ordonneau; Zuniga: Matthew Brook; Moralès: Riccardo Novaro; Frasquita, Virginie Pochon; Mercédès: Annie Gill / Louise Innes; Lillas Pastia: Simon Davies; Un guide: Lawrence Wallington. The Monteverdi Choir. Maîtrise des Hauts-de-Seine. Orchestre Révolutionnaire et Romantique. Direction musicale: Sir John Eliot Gardiner. Mise en scène: Adrian Noble. Décors et costumes: Mark Thompson.

Above: A scene for Carmen [All photos by Pierre Grosbois]


At the Opéra Comique in Paris, the theater where it was first performed, Bizet’s Carmen has triumphed again. One of the most performed operas around the world, it has recorded nearly 3000 performances alone at the Comique. But a new production with a fresh perspective has given the old girl new life. Hugh Canning, of the Times of London, declares “Carmen has never sounded more revolutionary, romantic or thrillingly vibrant.”

Conductor John Eliot Gardiner brings along his polished Orchestre Révolutionnaire et Romantique to play on instruments which recreate the lost sound of the 19th Century orchestra. His Monteverdi Choir, with a discipline and artistic commitment not found in Parisian opera choruses, also showed a real sense of the theater. Stage director Adrian Noble, a former head of the Royal Shakespeare Theater, created an intense, elegant, cliché-free staging that tells the story with an engaging freshness. There has seldom been a director so committed to the details of this fatal confrontation and who could work with such talented singing actors. The single set easily becomes taverns and bullrings thanks to the lighting of Jean Kalman, who is, quite simply, the best in the business.

The fact that this opera is being performed in a theater with only 1255 seats certainly contributed to the more intimate reading. Most American audiences, for example, see this opera in theaters two or three times the size of the Comique. Carmen, usually a season filler, is a vehicle for stars to strut and orchestras, twice the size that would fit in the Comique pit, to swell and soar. Gardiner, however, conducts with a clarity and sure impulse that strips away the accumulated years of bombast. Among other details, the First Act duet between Don José and Micaêla finished with a quiet intensity and not with the shouting match one usually hears. He also restored several sections which are routinely cut, including a profoundly disturbing, almost Wagnerian bit of music when Carmen learns that the cards predict death.

The grand Italian soprano Anna Caterina Antonacci was in top form for this role. She has already recorded it at the Royal Opera in London on DVD but this effort is a different, more subtle reading, more in tune with Gardiner’s adherence to the storytelling art of Adrian Noble. As Don José, the talented American tenor Andrew Richards, fully recovered from an indisposition which caused him to miss an earlier performance, was able to give 100% for the performance on June 25, broadcast live to fifty theaters in France and Switzerland. That night was also recorded for later television broadcast and thus become a candidate for a DVD release. The gifted soprano Anne-Catherine Gillet, who sang the role of Micaêla, was quite fine, as was the Escamillo of Nicolas Cavallier. All of the second roles were played to perfection with a particularly lively children’s chorus, Maîtrise des Hauts-de-Seine, who actually, for the first time in my experience, sang intelligible French.


This latest acclaimed production, sold-out months ago, only adds to the stature of the house. Both English conductor John Eliot Gardiner and Italian mezzo Anna Caterina Antonacci have homes in Paris. It would not be difficult to imagine working with either of these two grand artists to present something compelling. Gardiner’s reading of Berlioz’ Les Troyens at the Theatre du Chatelet in 2002, available on DVD, revealed new color and detail plus Antonacci sang a Cassandre for the ages.


The Opéra Comique is one of Europe’s most elegant venues and a lively complimentary program, Les Rumeurs, is assembled around each new opera; in addition to concerts of Bizet’s music, the 1915 silent film with the same name and subject by the young Cecil B. DeMille was only another part of the festivities. The season opener this year, Purcell’s Dido and Aeneas, with conductor William Christie working with stage designer Deborah Warner, was thought by many to be the finest production in Paris this season. The theater’s recent efforts to reexamine the French repertory, scandalously neglected by the French since World War II, is clear in the next season announced recently. Operas by Messager, Grétry, Thomas, Berlioz (Béatrice et Bénédict) and Aperghis grace a schedule ending with Debussy’s Pelléas et Mélisande, again with Maestro Gardiner and his musical forces.

The new season can be previewed (in French) at

This review first appeared in Playbill on 1 July 2009. It is reprinted with permission of the author.

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):