Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.



Giacomo Puccini [Photo courtesy of Festival Puccini]
19 Aug 2011

La Bohème at Torre del Lago

This is where Puccini composed many of his operas until the lake got so polluted he had to move to nearby Viareggio.

Giacomo Puccini: La Bohème

Click here for cast information.

Above: Giacomo Puccini
Photos courtesy of Festival Puccini


Like Bayreuth the Torre del Lago is devoted exclusively to the works of one composer. But unlike Bayreuth the Fondazione Puccini exerts little effort to glorify the legacy of this remarkable composer by staging productions that may fulfill the operatic expectations of the unwashed masses but leave serious Puccini disciples aghast.

Such was the effect of La Bohème (8/12) seen from press seats in the 26th row of the 3200 seat Gran Teatro all’Aperto Giacomo Puccini at the edge of Lake Massaciuccoli, a sort of swamp by the Mediterranean near Pisa. Actually the 26th row is even more distant from the action than it would ordinarily be because not only are there several wide lateral aisles between sections, there is also a lot of legroom (a boast of the management).

Thus those of us in this section felt rather remote from the performance, encouraging some seaside bathers sitting nearby to follow the libretto on the screens of their cell phones with the added advantage of not missing urgent text messages, and others to sotto voce the story to their children — the lack of supertitles thus compensated (though these kids were far too young to read). After the first act the audience readjusted itself and we found seats in the 16th row amidst more serious spectators.

Here at least there was something to appreciate — the well-schooled verismo conducting of Alberto Veronesi was apparent (Mo. Veronesi is Eve Queler’s successor at the Opera Orchestra of New York), and the proficient opera acting and idiomatic Italian tenor singing of Venezuelan Aquiles Machado as Rodolfo was pleasurable. The mature style and presence of Italian baritone Marzio Giossi balanced the lively young and appropriately Italianate Colline of South Korean bass Seung-Pil Choi (it had to be him though the program gave another name).

Italian soprano Anna Maria dell’Oste made some fun as a Musetta who knew all the classic moves. Of the principals only the Mimi of Italian soprano Serena Farnocchia disappointed, her Mozartian delivery and matronly presence failed to capture the musical and dramatic energy imparted by the rest of the cast. Most notably it was Mr. Machado who generated real Puccini magic in his third act farewell to Mimi and with his final cries at her death. He accepted his abundant applause with extravagantly florid bows.


Rome Opera resident stage director Maurizio di Mattia moved his very experienced cast with slick flair, though he imposed a tasteless appearance of Puccini himself to watch the death scene. Rome Opera scene painter Maurizio Varamo designed the sets and presumably it was he who painted a quite wonderful backdrop of Paris for his set. But its architecture betrayed crudeness and naivete, especially the kitsch Tour Eiffel. The production was first seen in Hong Kong where it was not un-appreciated.

In flagrant disregard of current performance practice principal bows were effected after each of the four acts cruelly lengthening the evening, interminable already because of the clumsy production could not possibly be organized into the now usual two part format. A lot of fine Pommery champagne, a sponsor of the festival, flowed between the acts making the sculptures in the large garden seem very witty indeed by the early morning hours of the next day.

Michael Milenski

Click here for a photo gallery.

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):