Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Songs for Nancy: Bampton Classical Opera celebrate legendary soprano, Nancy Storace

Bampton Classical Opera’s 25th anniversary season opens with a concert on 7th March at St John’s Smith Square to celebrate the legendary soprano Nancy Storace.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A newly discovered song by Alma Mahler

It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.



06 Apr 2016

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Svadba in San Francisco

A review by Michael Milenski

Above: The bride prepared for the marriage [all photos copyright Stefan Cohen / San Francisco Opera}


The Atrium Theater is a huge square room with overwhelming neoclassical architectural elements, said to seat 300. It sits atop the Veterans Memorial just next door to the War Memorial Opera House. The theater is a daunting space, posing enormous challenges to producers. Its possibilities are exciting and limitless. May the new management of San Francisco Opera rise to the occasion!

Obviously it is an impossible space for a natural acoustic to exist or to be consistent. Thus the room has been acoustically engineered to the ‘nth degree with all sorts of advanced technologies. Based on this performance of Svadba the sound was entirely satisfactory, if manufactured.

Svadba_SF3.pngThe Dianne and Tad Taube Atrium Theater in theater configuration

Svadba (2013) is a brief (55 minutes) opera by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada. "Svadba" means marriage in Serbian, a slavic language, thus for these performances at the SF Opera Lab the title became Svadba-Wedding.

There are apparently marriage customs that straddle slavic cultures, one of which is the preparation of the bride’s hair for the marriage day, like Konstantin Makovsky’s enormous “The Russian Bride’s Attire” (1889) that hangs in San Francisco’s Palace of the Legion of Honor. This is simply that. That Svadba is an opera is a question in itself. It may be more of a painting as there is little if any dramatic development. Mainly there is exposition of subject, like your eye following the story told in the fixed images — a painting.

The subject matter of Svadba is of far less importance than the delight you find in the way the story is told. Composer Ana Sokolovic created its seven moments with the six female voices, but they are not always a cappella. There were strategic dings of a bell, plus noises the six singers created with the few props as well as stomping, clapping and tongue clicking.

The sound world was enormous using the tones of trained voices that mostly moved in soundscapes of close intervals, though of course there was much rhythmic invention of syllables that were both nonsense and Serbian. To our Western ears the formulated voice sounds were all abstract (the sounds were so involving that we ignored the sparse supertitles). When there were melodic moments they were in the modal scales of slavic folk music, and this alone created a long ago and far away atmosphere.

There were two strategic and quite beautiful moments when the voices collided on the first inversion of a triad chord, and the grandiose final moment when the voices resolutely landed on a perfect fifth! It was good music. The six singers were superb musicians with beautiful voices.

The subject matter is essentially folkloric though its relevance surely has long disappeared. The metteur en scène, perhaps the composer herself chose to update the imagery to contemporary dress and action. I found this disconcerting given my assumption of dated subject matter, though maybe there currently are some strange customs among Serbian women who live in Canada. However all this female maneuvering was a long haul for the guys sitting at my table (we sat on rented banquet chairs, like at a wedding celebration). We will have our male moment next month when we are offered a gang rape by stage director Calixto Bieito (Carmen, Act I).

The SF Opera Lab did not entrust the staging to a sophisticated stage director who might explore contemporary staging theories and conceptual practices, rather it was realized by Winnipeg, Canada stage director Michael Cavanagh (SF Opera productions of Susannah and Lucia di Lammermoor). Mr. Cavanagh’s concept was that we all were at the wedding resulting from the preparation of the bride’s hair.

Svadba_SF2.pngPreparing the bridal gown and audience at tables

The opera began on a platform in the middle of the room, then the action moved counterclockwise to a corner of the room, then a second corner, then the third, along the back wall, finally the fourth corner and then back to the center for the ending. It was tiresome, plodding organization.

All movement was abstract choreography in imitation of the music, often breaking natural movement into tiny bits of movement, like the fragmentary quality of the music. The lighting was sometimes fragmentary as well in flashes of pastel color. This music does not need, want or tolerate illustration, it merely requires focus and this we sorely lacked.

The magic of this splendid score was largely lost in this staging attempt. Note that the concept included champagne and wedding cake for everyone.

Michael Milenski

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):