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

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

OPERA TODAY ARCHIVES »

Reviews

25 Feb 2017

Garsington Opera Announces Extended Season: 1 June to 30 July 2017

For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.

Garsington Opera 2017

Above:Wormsley

Photo credit: Clive Barda

 

This year the festival offers Handel’s seductive masterpiece Semele, Debussy’s enigmatic Pelléas et Mélisande, Mozart’s Le nozze di Figaro, Rossini’s Il turco in Italia and will conclude with Silver Birch, a large-scale work for a professional cast with local community participants of all ages, commissioned by Garsington Opera, from leading British composer Roxanna Panufnik and librettist Jessica Duchen. The JLT Group is the season’s sponsor for the fourth consecutive year. As part of the Garsington Opera for All programme, funded by Arts Council England and run in partnership with Magna Vitae, Semele will also be screened free of charge in Skegness, Ramsgate, Burnham-on-Sea and Grimsby.

Semele is a love story in which the god Jupiter is captivated by the beauty of the all-too-human Semele; these dramatic and colourful mythological characters inspired Handel’s most memorably beautiful arias. The title role will mark the British debut of American soprano Heidi Stober, an established favourite at some of the world’s most important opera houses, including San Francisco Opera, Deutsche Oper Berlin, the Vienna Staatsoper and the Metropolitan Opera, New York. Singing the pivotal role of Jupiter is Robert Murray with Christine Rice singing his spurned wife Juno. They are joined by Jurgita Adamonytė (Ino), David Soar (Cadmus & Somnus), South African countertenor Christopher Ainslie (Athamas) and Leonard Ingrams Foundation Award winner Llio Evans (Iris). Leading early music specialist Jonathan Cohen will conduct the Garsington Opera Orchestra and Chorus and Annilese Miskimmon, Artistic Director of Norwegian National Opera will direct, in collaboration with designer Nicky Shaw.

Pelléas et Mélisande, Debussy’s only opera, and often considered to be one of the most original in the history of music, is full of shimmering beauty creating a work of intense hypnotic allure. It will feature established French bass-baritone Paul Gay (Golaud) and two rising stars taking the title roles - Jonathan McGovern (Pelléas) and American soprano Andrea Carroll (Mélisande) making her British debut, with Brian Bannatyne-Scott (Arkel) and Susan Bickley (Geneviève). Jac van Steen returns (Strauss Intermezzo 2015) to conduct the Philharmonia Orchestra in its first year of partnership with Garsington Opera. Michael Boyd (director) together with Tom Piper (designer) return following their acclaimed production of Eugene Onegin last season.

Il turco in Italia will be a revival of Garsington Opera’s joyous 2011 production directed by Martin Duncan with designs by Francis O’Connor. Three members of the original cast return - Mark Stone as the poet Prosdocimo, Quirijn de Lang as the dashing Turk Selim, and Geoffrey Dolton as the devoted but dull husband Geronio. They are joined by renowned British soprano Sarah Tynan as the dazzling and flirtatious Fiorilla and rising star Katie Bray as Zaida. Italian tenor Luciano Botelho returns as the love-lorn Narciso. Rossini doyen David Parry will conduct the Garsington Opera Orchestra and Chorus in this glittering musical score.

John Cox’s legendary production of Le nozze di Figaro, first seen at Garsington Manor in 2005, will be recreated for the opera pavilion at Wormsley. Written at the height of his genius, this is one of Mozart’s finest works. Australian born Joshua Bloom (Leporello, Don Giovanni, 2012) will sing the title role with the exciting soprano Jennifer France (Leonard Ingrams Award winner) as Susanna. The Canadian singer Kirsten MacKinnon will make her UK debut as the Countess with Duncan Rock as the Count andMarta Fontanals-Simmons as Cherubino. Stephen Richardson (Bartolo), Janis Kelly (Marcellina), and Timothy Robinson (Basilio) join the vibrant young cast. Douglas Boyd will again conduct this highly acclaimed production with the Garsington Opera Orchestra and Chorus. In June the principals and chorus of Garsington Opera will travel to the Théâtre des Champs-Élysées in Paris to give a semi-staged concert performance of Figaro with the Orchestre de Chambre de Paris conducted by its Music Director Douglas Boyd.

Roxanna Panufnik ’s Silver Birch is a commission for Garsington Opera's Learning & Participation programme with Jessica Duchen as librettist. The production will see over 180 community participants aged 8-80, including recruits from the local military community, performing as dancers, singers, actors, instrumentalists, as well as student Foley artists from Cressex Community School under the guidance of Pinewood Studios Sound Designer Glen Gathard. They will perform alongside favourite Garsington professionals in the cast and orchestra. The story explores the extraordinary power of love within the devastating context of war and makes use of Siegfried Sassoon's poetry from WW1 (some of which was written while staying at Garsington Manor). The creative team isKaren Gillingham director, Rhiannon Newman Brown designer, and Garsington Opera’s Artistic Director Douglas Boyd joins them to conduct. The professional roles will be performed by Sam Furness (Jack), Victoria Simmonds (Anna), Darren Jeffery (Simon), Bradley Travis (Sassoon), Sarah Redgwick (Mrs Morrell) andJames Way (Davey) and the Garsington Opera Orchestra will be playing.

Garsington Opera inside the auditorium.jpg Garsington Opera: inside the auditorium.

GARSINGTON OPERA AT WORMSLEY

For the Handel, Debussy, Rossini and Mozart operas, patrons are invited to arrive from 3.30pm to enjoy the gardens and deer park of the Wormsley Estate before performances begin in the early evening. Those arriving early are able to take a short trip in a vintage bus to the 18th century walled garden. On their return, they can enjoy traditional afternoon tea overlooking the cricket pitch, admire the spectacular views across the deer park and lake from the Champagne Bar, or stroll around the opera garden. In the long dinner interval patrons can dine in the elegant restaurant marquee overlooking the famous cricket ground or have a picnic by the lake, in the garden or in one of the private picnic tents. Performances resume as the evening light begins to fade and end by 10.15pm. A minibus service connects with High Wycombe station, a half hour train journey from London.

DIARY OF EVENTS AT WORMSLEY

Semele (new production) 1,3,9,15,24,30 June, 4 July start time 5.55pm

Le nozze di Figaro (recreation) 2,4,8,10,17 June, 3,6,9,11,14,16 July start time 5.25pm

Pelléas et Mélisande (new production) 16,18,22,25,27 June, 1,7 July start time 5.55pm

Il turco in Italia (revival) 26, 29 June, 2,5,8,10,13,15 July start time 5.55pm

Silver Birch (new commission) 28,29,30 July start time 7.30pm (no interval)

Tickets £135 - £200 including suggestion but non-obligatory donation of £70

Public booking opens 28 March www.garsingtonopera.org
Telephone 01865 361636

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):