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Elsewhere

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Interview with Star of Florencia en el Amazonas, Elizabeth Caballero

Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

A Chat With Baritone Brian Mulligan

Maria Nockin interviews baritone Brian Mulligan.

Lalo: Complete Songs

Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

L’italiana in Algeri, Garsington Opera

George Souglides’ set for Will Tuckett’s new production of Rossini’s L’italiana in Algeri at Garsington would surely have delighted Liberace.

Carmen in San Francisco

Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.

Eugene Onegin, Garsington Opera

Distinguished theatre director Michael Boyd’s first operatic outing was his brilliant re-invention of Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse in 2015, so what he did next was always going to rouse interest.


OPERA TODAY ARCHIVES »

Commentary

Elizabeth Caballero [Photo courtesy of Uzan International Artists]
23 Jun 2016

Interview with Star of Florencia en el Amazonas, Elizabeth Caballero

Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.  »

Recently in Commentary

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28 Jan 2005

Homage to Marian Anderson

Start buying pieces of fine art this week for 37 cents. The Marian Anderson first-class postage stamp, the 28th in the Black Heritage series, debuted Thursday in Washington, D.C. Richard Sheaff designed the stamp, which is based on an Albert Slark oil painting. Sheaff previously designed nine stamps that include Paul Robeson, Thurgood Marshall, Langston Hughes, Roy Wilkins and Patricia Harris. »

26 Jan 2005

Comparing Tebaldi and de los Angeles

According to popular legend, one great operatic soprano comes along every generation. The years directly following the end of World War II were singularly blessed with the emergence of no fewer than three great divas. The tempestuous and too-short life of Maria Callas, regarded by many as the greatest, ended in 1977. But her two greatest rivals lived into old age, by strange fate – the force of destiny? – dying within less than a month of each other. »

26 Jan 2005

Julia Jones Conducts at the Wiener Staatsoper

VIENNA, Jan. 23 -It was just eight years ago that the Vienna Philharmonic, which doubles as the orchestra of the Vienna State Opera, officially admitted the first woman to its august ranks. On Jan. 12, there were at least six in the pit for “Parsifal.” On the 13th, there was one in the pit for “Don Giovanni.” On Saturday, there was one at the head of the orchestra: Julia Jones, an English conductor who made her debut here in 2001, has conducted a number of times here since, and who led a robust “Così Fan Tutte” during the house’s second annual “Vienna Mozart Days” (which ends with a final “Nozze di Figaro” on Jan. 29). »

24 Jan 2005

Le Figaro Interviews Marc Minkovski

A 20 ans, Marc Minkovski fondait les Musiciens du Louvre et, très vite, imprimait sa sensibilité gourmande sur le répertoire baroque, puis sur des Offenbach qui ont fait mouche à Lyon, Grenoble et Paris. On se souvient d’un grand Couronnement de Poppée à Aix-en-Provence, d’un admirable Pelléas et Mélisande, salle Favart, pour le centenaire de l’oeuvre en 2002. A l’Opéra de Paris, Gérard Mortier en fait aujourd’hui un pilier de ce qui ne ressemble pas à de la sagesse : le voici aux commandes musicales d’une nouvelle Flûte enchantée venue du Festival de la Ruhr, et donnée en pâture au délirant groupe catalan La Fura del Baus. Le chef, lui, s’occupe surtout de Mozart. »

21 Jan 2005

John Eliot Gardiner Goes It Alone — Take Two

What is it that urges an eminent musician to spurn the mainstream record industry and set up on his own? Some orchestras have been doing it for quite a while, bypassing the major companies and releasing competitively priced discs of live performances that regularly lead the market and at the same time help to promote the orchestras’ image. Where the London Symphony Orchestra led the way in that field, Sir John Eliot Gardiner, who already has a formidable backlist of recordings to his credit, is now blazing a trail for the individual artist by launching his own label, Soli Deo Gloria, the first two albums of which have just gone on sale. »

21 Jan 2005

So Much For Einstein's Theory

For many years Wolfgang Amadeus Mozart’s operatic work Zaide was regarded as a fragment. More than an hour of music was preserved but that was only the arias. Originally they were linked by spoken text, none of which survived. The German musicologist and conductor Andreas Kroeper, who now lives in the Czech Republic, says he has found the missing text and has proved it belonged to Zaide. Mozart started to compose the two-act Singspiel, set in a Turkish harem — a popular setting at that time, some time around 1780 in Salzburg. The libretto, developing similar plots of the period, was written by the Salzburg court musician Johann Andreas Schachtner. But Mozart soon realised a serious piece like that would not go down well with the Viennese audience whose tastes had turned to comic operas. »

18 Jan 2005

More Than 2,000 Say Goodbye to Victoria de los Ángeles

The coffin of Spanish Victoria de los Angeles, a distinctive soprano who sang most of the great lyric roles in most of the world’s opera houses, is placed inside the cathedral Nostra Senora del Mar during her funeral in Barcelona, January 17, 2005. Victoria de los Angeles died in hospital on Saturday at the age of 81. »

18 Jan 2005

Fidelio at the Lyric Opera of Chicago

Among history’s crowded pantheon of tormented genius-artists, Beethoven holds an honored spot. Often he composed quickly and with little apparent struggle. But he was no Mozart, who typically composed with a facility and speed that some music scholars have described as “taking dictation from God.” Beethoven filled sketchbooks with musical fragments, doggedly reworking and refining them like a miner scratching for diamonds in a black-walled shaft. With his wild hair, scowling gaze, deafness—a particularly cruel infirmity for a musician—and volcanic temper, he is the very model of a modern angst-ridden artist. »

18 Jan 2005

Mozart's Mass in C Minor Completed

Mozart left comparatively few major (or potentially major) works unfinished, and while it may seem daunting – presumptious even – for another musician to complete these scores, the lure of making an incomplete work whole is clearly too great to resist. Can the results ever be more than hyphenated Mozart? Probably not. A musicologist steeped in Mozart’s musical moves may project what the composer might have done at any point in a work, based on what he did in similar scores, and the completion may sound thoroughly Mozartean. But Mozart often came up with solutions that are completely surprising. Part of what made him Mozart – in fact, part of what makes any great composer great – is unpredictability. »

17 Jan 2005

Le Monde on Victoria de Los Angeles

Elle s’en est allée rejoindre les anges, dont elle portait si bien le nom. Victoria de Los Angeles s’est éteinte samedi 15 janvier, à l’âge de 81 ans, à la clinique Teknon de Barcelone, où elle avait été hospitalisée, à la suite de troubles cardio-pulmonaires, le 31 décembre 2004. Née le 1er novembre 1923 dans la capitale catalane, Victoria Gómez Cima (ou Garcia Lopez), dite Victoria de Los Angeles, avait grandi dans une Espagne meurtrie par les guerres. La fille du concierge de l’université, qui travaillait sa voix dans les salles de cours vides, avait conquis le monde de l’opéra dès 1947 en remportant le grand Concours international de Genève, qui lui valut de débuter l’année suivante à la BBC dans le rôle de Salud de La Vie brève de De Falla. »

15 Jan 2005

Victoria de los Ángeles Has Died

Barcelona.—La decana de los cantantes líricos españoles, Victoria dels Ángeles, ha fallecido hoy a los 81 años en la Clínica Teknon de Barcelona, donde se encontraba ingresada desde el 30 de diciembre como consecuencia de una afección respiratoria. La familia de la soprano ha comunicado que la capilla ardiente se instalará mañana en el Palau de la Generalitat de Catalunya, entre las 12.00 y las 19.00 horas. El funeral de la cantante, nacida en Barcelona el 1 de noviembre de 1923, tendrá lugar en la Basílica de Santa María del Mar, el lunes a las 11.00 horas. »

14 Jan 2005

Mozart's Portrait — Doubts Emerge

Nur wer mit den Eigentümlichkeiten Wiens und seiner Bewohner, ihren Empfindlichkeiten und Ab grenzungen, vor allem im Umgang mit den einverleibten Idolen, einigermaßen vertraut ist, kann ermessen, welch empfindlichen Nerv die Nachricht treffen musste, die am Dreikönigstag aus Berlin, ausgerechnet Berlin, verbreitet wurde, dass in der Berliner Gemäldegalerie ein bisher unbekanntes Mozart-Porträt aufgetaucht sei. Zwar wurde zugleich eine elektronische Kopie dieses Bildnisses mitgeliefert, auch der Name des Malers, Johann Georg Edlinger, genannt und mitgeteilt, es sei 1790 bei Mozarts letztem Aufenthalt in München entstanden, alles Nähere jedoch soll erst bei einem Vortrag am 27. Januar 2005 durch den Oberkustos der Berliner Gemäldegalerie, Rainer Michaelis, bekannt gegeben werden. Also just an Mozarts 249. Geburtstag. »

11 Jan 2005

Going It Alone

The conductor Sir John Eliot Gardiner — for 20 years one of the most famous names contracted to the recording company Deutsche Grammophon — has launched his own CD label, after recovering from the blow of the abrupt severance of his contract with DG. Sir John faced a crisis when the company pulled the plug just as he was planning the gargantuan project of touring with and recording live the complete Bach cantatas throughout the year 2000, which would have resulted in over 50 CDs. »

07 Jan 2005

A Lost Portrait of Mozart Recovered?

Musikgenie zwischen Verschwendungssucht und verhärmter Armut — doch aus Mozart-Porträts spricht auch Lebensfreude, Lust am Genuß und tödliche Krankheit. Höchste Zeit, über Amadeus-Legenden nachzudenken. War Mozart dicklich und wohlgenährt? Ein neu aufgetauchtes Bildnis zeigt den Salzburger Meister in seiner späten Zeit, im Jahre 1790. Mozart war 34 Jahre alt und hatte noch gut ein Jahr zu leben. Die Sensation: Pausbäckig und jovial, den Jackenknopf mühsam über dem Bäuchlein geschlossen, bietet Mozart einen Anblick gesunder Lebensfreude und jovialer Genußfähigkeit. »

29 Dec 2004

Salieri Redux

For Mozart's Archrival, an Italian Renaissance By JASON HOROWITZ MILAN - For more than 200 years, Antonio Salieri's obscure opera "Europa Riconosciuta" ("Europa Revealed") was forgotten. Before its return to La Scala this month, the opera had not been performed... »

29 Dec 2004

Marketing Classical Music

Folks tirelessly trying to market classical music these days will settle on almost any hook to lure customers, from martini bars in lobbies and cutesy program titles to that reliable, when-all-else-fails measure, the deeply discounted ticket price. I’m just old-fashioned enough to prefer come-ons that actually have something substantive to do with the music itself, and I’m a sucker for promotions that involve historic pegs – the anniversary of a composer’s birth or death, or of a composition’s first performance, for example. »

20 Dec 2004

Michael Tilson Thomas Turns 60

The ageless baton By Allan Ulrich Published: December 20 2004 13:44 | Last updated: December 20 2004 13:44 The conductor Michael Tilson Thomas turns 60 this week and, despite a few streaks of silver in his hair, his is a... »

19 Dec 2004

E' morta Renata Tebaldi

E' morta Renata Tebaldi Era la "rivale" di Maria Callas SAN MARINO - Renata Tebaldi è morta alle 03.30 nella sua casa di San Marino. La grande cantante lirica, nata a Pesaro, avrebbe compiuto 83 anni nel febbraio prossimo. La... »

17 Dec 2004

Krassimira Stoyanova: A Biographical Note

The Wiener Staatsoper's 2004-2005 season includes Verdi's Simon Boccanegra, which premiered on 8 December. Krassimira Stoyanova performed the role of "Amelia" to rave reviews. Beginning 3 January 2005, she will appear at the Met's production of Turandot in the role... »

15 Dec 2004

Renée Fleming: Not By Talent Alone

Aiming For Her Very Top Note Tue Dec 14, 7:00 PM ET Curt Schleier Renee Fleming understands that natural talent isn't enough to assure success. In fact, Fleming said during a recent interview, natural ability can work against you. Take... »