Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

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.

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.

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



Flavio Oliver as Montezuma [Photo courtesy of Festival Internacional Cervantino]
01 Nov 2010

Cervantino stages rare Graun opera — The Mexican national opera?

Clearly, there isn’t one. Yet, Carl Heinrich Graun’s 1755 rarely-performed Montezuma is of special importance in a country celebrating 200 years of Independence from Spanish rule and 100 years since the Revolution that ultimately toppled dictator Porfirio Díaz.

Carl Heinrich Graun: Montezuma

Flavio Oliver: Montezuma; Lourdes Ambriz: his wife; Rogelio Marín: Tezeucco; Lucia Salas: an Aztec general; Adrián-George Popescu: Cortés; Christophe Carré: Narvés, a Spanish captain. Gabriel Garrido: conductor. Claudio Valdés Kuri: director. Herman Sorgeloos: scenic designer. Jimena Fernández: costume designer. Carsten Sander: lighting. Elyma Ensemble. International Cervantino Festival. Teatro Juárez, Guanajuato. October 14, 2010.

Above: Flavio Oliver as Montezuma

All photos courtesy of Festival Internacional Cervantino


Montezuma was thus an obvious choice as the operatic centerpiece of the 2010 International Cervantino Festival, staged in Guanajuato, a major station on the march to Mexican freedom that began in 1810.

Although he was his contemporary, Graun was no Handel, and thus Montezuma, even when performed with the dedication obvious in the production seen in the historic Teatro Juárez on October 14, is more conversation piece than masterwork. The libretto by Graun’s employer, Prussia’s music-loving, flute-playing Frederick the Great, was performed in Guanajuato in Italian translation.

CCC_1295.gifChristophe Carré countertenor as Panfilo de Narvaes

The somewhat simplistic plot reflects Frederick’s desire to be seen as an apostle of the Enlightenment — despite his own absolute power. Montezuma is an embodiment of the monarch’s philosophical leaning vis-à-vis the Noble Savage. (Recall that this is also the age of Jean-Jacques Rousseau, with Voltaire being in residence at Frederick’s court.)

Mexico’s opera Wunderkind Claudio Valdés Kuri brought all the excesses of Regietheater to the minimalist staging, trying too hard to make more of Montezuma than is really there. Intent of fitting the work into the theme of the season, Kuri employed all the techniques of Brechtian alienation to combine in the production a picture of Mexico’s inhuman suffering with a vision of hope for the future. Thus in the title role countertenor Flavio Oliver frequently swapped Aztec loin cloth with T-shirt, and in Act III Kuri changed the entire 26-member Elyma Ensemble, an able but undistinguished early-music group, into “civvies” and moved them onto the stage. This act concluded not with Graun’s original score, but with a dramatic scene by Mexican Baroque composer Manuel de Sumaya. As Montezuma died, half the stage was wrapped in a modern Mexican flag. The substituted finale seemed to suggest an eventual and successful synthesis of cultures. Yet one wondered— to cite only one from many examples— whether Cortés on-stage rape of heroic Montezuma did not detract from the figurative rape of ancient Mexico that is the true subject of the Graun’s opera.

Oliver, by far the finest voice— and actor— in the cast, was a virile Montezuma in the minimalist staging, designed by Herman Sorgeloos. As conqueror Cortés Adrian’s George Popescu, an equally able countertenor, was the embodiment of the Absolute Evil that brought about the end of Aztec civilization.


As Montezuma’s mate, soprano Lourdes Ambriz grew in stature as she suffered ever-greater abuse throughout the performance. She made her lament in Act III a memorable moment in an otherwise often tedious evening of opera. Without distorting the figure, Kuri took advantage of Ambriz’ talent to bring a hint of feminist thought to the production. Gratefully, Kuri trimmed his staging to three hours from the original four. It was also to Kuri’s credit that he corrected Frederick’s idealist picture of Montezuma with an opening scene that showed that his hands too were soiled with the blood of innocent victims.

A co-commission Germany’s Theater der Welt and the Edinburgh Festival (it was staged by both earlier this year), the Cervantino, Madrid’s Teatro, where it recently played. It is yet to be seen in Mexico City.

Wes Blomster

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):