Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

OPERA TODAY ARCHIVES »

Reviews

19 Jan 2013

Baroque treasures at the Barbican, London

The Barbican is going have a bit of a baroque moment next month. Joyce DiDonato will be bringing her Drama Queens programme, then there will be complete performances of Handel's Radamisto and Lully's Phaeton.

Accompanied by Il Complesso Barocco directed by Dmitry Skinkovsky, Joyce DiDonato will be performing a selection of arias from great queen roles in baroque opera, on February 6. She performs arias for Cleopatra by Handel (from Giulio Cesare) and Hasse (from Antonio e Cleopatra). Hasse married Handel's leading lady, Francesca Cuzzoni, and settled in Naples, but Antonio e Cleopatra dates from early in his career when he was based in Naples. DiDonato will also be singing one of Rossane's arias from Handel's Alessandro, written for the great trio of singers Senesino, Francesca Cuzzoni and Faustina Bordone with Rossane being sung by Bordone.

An earlier generation is represented by Ottavia's final aria from Monteverdi's L'Incoronazione di Poppea.

Other baroque composers in the recital are rather less well known. Giuseppe Orlandini (1676 -1760) worked extensively in Italy, but his opera Arsace was premiered at the Kings Theatre in London in 1721. DiDonato will be singing an aria from his opera Berenice which dates from 1725. Geminiano Giacomelli was Italian born, but worked extensively in Vienna. His opera Merope was premiered in Venice in 1734, and DiDonato sings an aria from this opera. Giovanni Porta was another Italian composer who worked in London, his opera Numitore was premiered at the Kings Theatre in 1720. We will be hearing an aria from Ifigenia in Aulide, which was premiered in Monaco in 1738

The orchestra will also be playing instrumental music including a Vivaldi concerto written for Dresden, and the passacaglia from Handel's Radamisto.

We get the complete Radamisto on Feburary 10 with David Daniels singing the title role in a concert performance with Harry Bicket conducting the English Concert with Patricia Bardon as Zenobia, Luca Pisaroni as Tiridate, Elizabeth Watts as Tigrane, Brenda Rae as Polisenna and Robert Rice as Farasmene

Radamisto dates from 1720 and is one of the most serious of Handel’s serious operas (opera seria) written for the Royal Academy in the earlier part of his career. His aristocratic patrons who ran the academy were interested in seeing noble characters put through difficult situations, morally uplifting. The plot can sometimes seem convoluted, and there is no light relief, but Handel’s response to the characters difficulties is wonderfully subtle and humane. After the first performance in April 1720, Handel radically re-cast the opera so that the title role could be sung by the alto castrato Senesino, recently arrived in London. This gives us the unusual situation where one of Handel’s revisions to his Italian operas is as valid artistically as the original. The English Concert will be performing the revised version.

Prior to their Barbican performance, they are performing the work at the Theatre des Champs Elysees in Paris and at Symphony Hall in Birmingham.

Then on 10 March we move to Paris, as Christoph Rousset and Les Talens Lyriques perform Lully’s Phaeton with Emiliano Gonzalez Toro, Ingrid Perruche, Isabelle Druet, Sophie Bevan, Andrew Foster-Williams, Matthew Brook, Benoît Arnould, Cyril Auvity, Virginie Thomas. Lully wrote the opera to a libretto by his regular collaborator Philippe Quinault and the work premiered at Versailles in 1683. Its plot, dealing with the hubris of Phaeton, son of the Sun god, can be seen as an allegory of the punishment awaiting those mortals who dare to raise themselves as high as the sun (i.e. the Sun King, Louis XIV). The opera is the 10th of Lully’s 14 tragedies lyriques. As with all operas in the form, it mixes aria with choruses and extensive dance episodes which are integrated into the plot.

Robert Hugill

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):