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.



David Carlson: Anna Karenina
20 Sep 2009

Anna Karenina: An Opera by David Carlson, Libretto by Colin Graham

Reading the articles in the booklet for this set, it becomes clear that librettist Colin Graham was the driving force behind this opera's creation.

David Carlson: Anna Karenina
Libretto by Colin Graham

Anna Karenina , wife of Alexei Karenin: Kelly Kaduce; Dolly (Princess Darya Oblonskaya), sister of Kitty Scherbatsky: Christine Abraham; Stiva (Prince Stepan Oblonsky), Anna’s brother and Dolly’s unfaithful husband: William Joyner; Levin (Konstantin Levin, called Kostya), in love with Kitty: Brandon Jovanovich; Betsy (Princess Betsy Tverskoy), a famed St. Petersburg hostess: Josepha Gayer; Vronsky (Count Alexei Vronsky), an officer in love with Anna: Robert Gierlach; Kitty (Princess Ekaterina Scherbatskaya), Dolly’s younger sister, infatuated with Vronsky: Sarah Coburn; Prince Yashvin , Vronsky’s friend: Nicholas Pallesen; Countess Lydia Ivanovna: Dorothy Byrne; Karenin (Alexei Karenin), Anna’s husband: Christian Van Horn; Aga FIa Mikhailovna , Levin’s old nurse: Rosalind Elias; Seriosha , Anna’s son: David Tate; Ann ushka , Anna’s maid: Kimberly Wibbenmeyer; A doctor: Mike Dowdy; Mikhail , Seriosha’s tutor: Brad Lewandowsky. Opera Theatre of St Louis. St Louis Symphony Orchestra. Conductor: Stewart Robertson.

Signum Classics SIGCD154 [2CDs]

$41.98  Click to buy

Yet the protocols of the opera business dictate that under the title Anna Karenina on the jewel case cover, the first line states “An Opera by David Carlson,” followed by Graham’s credit. Tolstoy’s name only appears on the back cover. The singers’ names, truly unusually, do not appear on either cover, but only inside the booklet - on page 9!

This has the order of commendation quite backward. A young cast, headed by soprano Kelly Kaduce in the title role, works with energy and authority to try and bring the music drama to life. The grim essence of Tolstoy’s tragedy only makes itself felt intermittently, as librettist Graham works to capture more of the novels’ complexity than earlier adaptations had, while meeting the needs of the operatic stage.

All these admirable efforts, worthy or not, are sunk under the teeming waves of sound that composer David Carlson pours forth. The orchestra always seems to be more excited about the story than the characters. Moments of repose and reflection are too few as strings nervously scatter this way and that, brass barks, and the winds twitter nervously. Some moments might be identified as “aria-like,” if not actually arias, but Carlson has no gift for sustained melodic invention. As conductor, Stewart Robinson (leading the Saint Louis Symphony Orchestra), manages all the challenges Carlson’s music presents, but he can’t make it interesting to hear.

The large cast features some names that will become more familiar in the coming years, it is safe to assume. Kaduce works to make Karenina sympathetic, as the condensed nature of an opera libretto flattens much of Tolstoy’s characterization. Christian Van Horn as Anna’s unfortunate husband sings with muted nobility. Robert Gierlach as Vronsky does not have the vocal charisma to suggest the reason’s for Anna’s infatuation, but perhaps live on stage would be a different matter. In smaller roles, Brandon Jovanovich and Sarah Coburn establish attractive vocal identities.

Whether in Carlson’s impatient, hectic music or Graham’s too literal adaptation, the opera Anna Karenina makes the classic mistake of telling, not showing, as the characters and the score always seem to proclaim their feelings without actually conveying them. This would be, then, only for the most committed fans of any contemporary opera, or those already following some of these young singers’ promising careers.

Chris Mullins

[Editor’s Note: Please refer to Kelly Kaduce sings Anna Karenina for an interview of Kelly Kaduce regarding the role of Anna Kareninia.]

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):