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Florilegium, Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.

Leoncavallo: Zazà - Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.

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.



Emma Matthews in Monte Carlo
11 Dec 2009

Emma Matthews in Monte Carlo

Emma Matthews is an English born soprano currently resident in Australia where she has sung with the state based opera companies as well as the national company Opera Australia where she is currently a soloist.

Emma Matthews in Monte Carlo

Emma Mathews, soprano. Orchestre Philharmonique de Monte-Carlo

ABC Classics/ Deutsche Grammophon 476 3555

$35.98  Click to buy

Matthews is mostly known for her already formidable coloratura technique. In her work with Opera Australia Matthews projects a big, secure voice in lyric and coloratura roles but also in less likely assignments including the title role in one Opera Australia’s finest achievements, Alban Berg’s Lulu, using that light, lyrical voice to revelatory effect.

This co-production between ABC Classics and Deutsche Grammophon will also be released internationally and coincides with Matthews launches her international career. The project is a luxurious one, instead of an Australian orchestra the Philharmonique de Monte-Carlo is employed and even a second singer (mezzo Catherine Carby) has been brought over to sing the ‘pertichio’ role in the Lucia di Lammermoor scene.

The disc opens with a restrained account of “Glitter and Be Gay” from Bernstein’s operetta-inspired Candide. Eschewing the histrionics that often negate the song’s effects Matthew’s equates the coloratura passages to the type of musical laughter familiar from Manon Lescauts’ laughing song in Auber’s opera or the best known example, Adele’s laughing song in Die Fledermaus. The result is immensely satisfying and encourages multiple hearings.

The folksy “Last Rose of Summer” from Flotow’s Martha reveals Matthews’s beautiful legato but the bulk of the disc is a 60 minute ‘potted’ history of the Bel Canto era before ending with a return to simple serenity. Instead of the celebrated mad-scene from Donizetti’s Lucia di Lammermoor comes the equally dramatic fountain scene is chosen which introduces Lucia (and subtly indicates her mental breakdown is already beginning). The featured mad scene is Ophelia’s scene and ballade from Thomas’s Hamlet. Given in full it the best demonstration of Matthews’s impressive technique as she incorporates the higher and more florid passages introduced by the singer Marie Carvalho and incorporated into the original vocal scores. Matthews then gives an even more elaborate account of the ‘Doll Song” from Les Contes d’Hoffmann and then just enough of an arrangement (the entire thing overstays its welcome even for coloratura fanciers) by Richard Bonynge of Proch’s Theme and Variations (presumably with his wife Joan Sutherland in mind) and which Matthews sings with the same power and agility as Sutherland.

The recital closes with two Australian compositions, and orchestration of a song by Calvin Bowman that has a folksy simplicity and even a beguiling Scotch rhythm in places. The Nightingale’s song from Richard Mill’s opera The Love of The Nightingale is sadly too brief an excerpt from an opera Matthews is so closely associated with. Sounding like a classical vocalise and orchestrated in a lush Ravel-ian manner it brings some beautiful playing from the orchestra. The conductor, Brad Cohen, has a personal interest in this 19th French operatic repertoire and the orchestra, as expected, are a world class band who respond to the familiar items, bringing some very Gallic and incisive playing to the scene from Gounod’s Roméo et Juliette. The recording is demonstration class, Matthews’s voice given an immediate presence with the strings, in particular in the Bowman item, sounding luscious.

Michael Magnusson


Leonard Bernstein: Candide — Glitter and Be Gay

Leo Delibes: Lakme — Ou va la jeune Indoue (Bell Song)

Friedrich von Flotow: Martha — The Last Rose of Summer

Gaetano Donizetti: Lucia di Lammermoor — Ancor non giunse…Regnava nel silenzio…Quando rapito In estasi (with Catherine Carby mezzo-soprano)

Vincenzo Bellini: I Capuleti e i Montecchi — Eccomi in lieta vesta…Oh! quante volte

Charles Gounod: Roméo et Juliette — Air de la coupe: Dieu quel frisson … Amour, ranime mon courage

Ambroise Thomas: Hamlet — A vos jeux, mes amis… Partagez-vous mes fleurs… (scène de la folie d’ Ophelie)

Jaques Offenbach: Les Contes d’Hoffmann — Les oiseaux dans la charmille

Heinrich Proch (arr. Richard Bonynge): Deh! Torna, mio bene, Theme and Variations

Calvin Bowman: Now Touch the Air Softly

Richard Mills: The Love of the Nightingale — The Nightingale’s Song

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