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Elsewhere

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Daniel Kramer to step down as English National Opera’s Artistic Director

Daniel Kramer is to step down as ENO’s Artistic Director at the end of July 2019 in order to focus on directing more opera and theatre full time.

Wexford Festival Opera's award-winning Il bravo to be streamed on ARTE.tv

From 7 pm (CEST), this Sunday 21 April, ARTE, the European public service broadcaster, will stream one of last year’s Wexford Festival Opera productions, Saverio Mercadante’s Il bravo, which was recently named ‘Best Opera Production’ at The Irish Times Irish Theatre Awards. Il bravo will be freely available worldwide on ARTE’s digital on-demand culture channel, Arte Concert, as part of ARTE’s 2019 Opera Season, a special online service for lovers of classical music. The opera will subtitled in English, German and French.

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

Bampton Classical Opera 2019: Stephen Storace - Bride & Gloom (Gli sposi malcontenti)

Newly-wed Casimiro and Eginia hardly seem to be enjoying a state of marital bliss. Why does Eginia sleep on her own, and why is her ex, Artidoro, still hanging around? He now seems to have an eye for the undoubted charms of Casimiro’s sister, Enrichetta - but she’s also attracted the lustful interest of dull and dusty Dr Valente, a man likely to turn nasty if thwarted …

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

The Nibelungen-Myth. As Sketch for a Drama

From the womb of Night and Death was spawned a race that dwells in Nibelheim (Nebelheim), i.e. in gloomy subterranean clefts and caverns: Nibelungen are they called; with restless nimbleness they burrow through the bowels of the earth, like worms in a dead body; they smelt and smith hard metals.

Transylvanian-born mezzo-soprano Eszter Balogh wins the 2019 Handel Singing Competition

Following the final on Saturday 6 April, the Handel Singing Competition announced mezzo-soprano Eszter Balogh as the 2019 winner. Alongside Eszter, the finalists were Patrick Terry (countertenor), David de Winter (tenor) and William Thomas (bass) and the final took place at St George’s, Hanover Square in London in front of a live audience.

English National Opera announces 2019/20 Season

ENO’s 2019/20 season features seven new productions and three revivals, the greatest number of new productions for five years.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.


OPERA TODAY ARCHIVES »

Commentary

17 Apr 2019

Daniel Kramer to step down as English National Opera’s Artistic Director

Daniel Kramer is to step down as ENO’s Artistic Director at the end of July 2019 in order to focus on directing more opera and theatre full time. »

Recently in Commentary

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22 Sep 2005

Tom Sutcliffe - Behind the scenes

Sheridan Morley, impressed with Michael Grandage's staging of Schiller's Don Carlos last February, turned to a fellow critic at the Gielgud Theatre and asked if they had known that it was such a terrific piece, adding jocularly that somebody ought to make an opera of it. »

16 Sep 2005

Myth, Muzak and Mozart

As the 250th anniversary of the composer's birth approaches, Proms director Nicholas Kenyon offers a personal guide to enjoying his work »

15 Sep 2005

COME RAIN OR COME SHINE

The bittersweet life of Harold Arlen. The composer Harold Arlen, a dapper man whose songs brought something both dashing and deep to the Republic, liked to tell a story about the time he danced with Marilyn Monroe. »

15 Sep 2005

Paul Kellogg to retire as New York City Opera’s General and Artistic Director at the end of the 2006-07 Season

Paul Kellogg, General and Artistic Director of City Opera, today announced that he will retire from the Company in June, 2007 at the end of the 2006-2007 season, his 12th with the company. »

14 Sep 2005

View from the Top — David Daniels, ten years on

The life of an opera singer is not for the faint-hearted. It’s one of dizzying highs and lows, a crazy roundabout of heart-warming praise and soul-piercing criticism. No-one gets off lightly — even the best in the world — and to survive just a decade of this madness is an achievement in itself. I’ve been following the progress of American star countertenor David Daniels for a while now, so when I was asked to write a ten year retrospective on his career it seemed to me that, with a lot written already about that career, the “how” would be more interesting to discuss than the “what” or “when”. And the viewpoint that would give the most insight into how this exceptional singer came to be where he was would be: his own. »

08 Sep 2005

The Met Broadcasts Have a New Sponsor

Metropolitan Opera General Manager Joseph Volpe announced today that Toll Brothers, America’s luxury home builder™, will be the corporate sponsor for the Metropolitan Opera Saturday afternoon radio broadcasts which will celebrate their 75th anniversary this season. The twenty-one radio broadcasts will run from December 17 of this year to May 6, 2006, and will be heard over the Toll Brothers-Metropolitan Opera International Radio Network, which comprises over 300 stations in the United States and reaches eleven million people in forty-two countries around the globe. The Annenberg Foundation and the Vincent A. Stabile Foundation will continue to provide generous support for this season’s broadcasts as part of their long-term commitments to the future of this program. -------- »

23 Aug 2005

SANTA FE — Second Thoughts

For an opera company that boasts a $30-million endowment, and has scheduled funding efforts expected to bring that largesse to $50-million by 2007, its fiftieth anniversary of summer opera performances, plus $10-million more for capital improvements, the question comes up: Santa Fe Opera can afford top quality, but are they providing it? The answer seems to be, sometimes. »

11 Aug 2005

Unearthed Vivaldi Aria Premiered in Australia

Today at the University of Melbourne, an excerpt from Vivaldi's newly discovered choral setting of Psalm 110 ("Dixit Dominus") received its modern premiere, marking an historic occasion not only for musicologists but for the field in general. »

11 Jul 2005

High Noon in Düsseldorf

Barely a month ago, Rotterdam and the music world generally celebrated the first performance of Vivaldi’s Motezuma since those held in Venice in 1733. Musicologist Steffen Voss reconstructed the opera’s score in large part from a manuscript he found while examining documents recently returned to the Sing-Akademie zu Berlin by the government of Ukraine. Kees Vlaardingerbroeck, the artistic director of Rotterdam’s De Doelen, declared, “This is the most important Vivaldi discovery in 75 years.” »

09 Jul 2005

On Art and Politics

You see a lot of plays when you’re a drama critic, and you don’t always get to pick them. That isn’t necessarily a bad thing. Most of us have a way of sinking deeper into the velvet-lined ruts of our own well-established tastes when left exclusively to our own devices. To be a working drama critic, on the other hand, is to engage with what’s out there, good and bad alike. Just because I expect to be exasperated by a show, or bored silly, doesn’t mean I can afford to pass it by. Besides, I’ve been a critic long enough to know that only a fool writes his review on the way to the show. I can’t tell you how often I’ve been surprised at the theater – both ways. »

01 Jul 2005

An die Musik

In 1817, Franz Schubert set these words of the poet Franz von Schober to music in his song “An die Musik”: O gracious Art, in how many gray hours When life’s fierce orbit encompassed me, Hast thou kindled my heart to warm love, Hast charmed me into a better world. Oft has a sigh, issuing from thy harp, A sweet, blest chord of thine, Thrown open the heaven of better times; O gracious Art, for that I thank thee! Schubert’s song may well be the most beautiful thank-you note anyone has ever written, but it’s also something else. It’s a credo, a statement of faith in the wondrous powers of music, and by its very nature an affirmation of those powers. We may view it as a statement of expectations as well. The poet thanks Music for what it has done for him, but there is nothing in his words that would make us think that Music’s powers are exhausted, and indeed the noble, exalted character of Schubert’s music would lead us to believe that Music’s powers are, if anything, eternal, and eternally dependable. »

30 Jun 2005

When Copyright Law Gets It Wrong

When great music is silenced by law, who is truly wrong? Such is the nasty issue arising repeatedly in the low-stakes classical recording industry. So ephemeral is music that passionate minorities who appreciate it can't believe their luck when lesser-known... »

02 Jun 2005

Alex Ross: THE RECORD EFFECT — How technology has transformed the sound of music

Ninety-nine years ago, John Philip Sousa predicted that recordings would lead to the demise of music. »

21 May 2005

On Vanity Productions

On Sept. 29, 1855, the Brooklyn Daily Times ran an unsigned and startlingly exuberant review of a thoroughly obscure book of poetry. The anonymous critic quivered with admiration for the poet, as well as the verse. “Of pure American breed, of reckless health, his body perfect, free from taint top to toe,” he wrote. »

18 May 2005

On The Rise and Fall of Comic Opera

La ópera propiamente dicha nació seria, muy seria. Al fin y al cabo, a finales del siglo XVI, los selectos miembros de la aristocrática Camerata dei Bardi, en Florencia, imaginaban estar recreando nada más y nada menos que la tragedia griega. Pero, de forma paralela, y en el mismo contexto cultural, el madrigal dramático italiano estaba alcanzando su madurez con obras abiertamente cómicas. »

16 Apr 2005

The Diminishing Relevance of Critics

In the popular imagination, the art critic seems a commanding figure, making and breaking careers at will, but one hard look at today’s contemporary art system reveals this notion to be delusional.“When I entered the art world, famous critics had an aura of power”, recalls ArtBasel director Samuel Keller. “Now they’re more like philosophers—respected, but not as powerful as collectors, dealers or curators. Nobody fears critics any more, which is a real danger sign for the profession.” »

12 Apr 2005

An Interview With Michael Maniaci

Michael Maniaci has a fight on his hands. In the world of baroque opera he’s a young singer who seems to have it all: he’s intelligent, immensely talented, well-trained, committed and surprisingly wise for his 29 years. On top of that he’s already been successful in the USA winning prestigious competitions, and recently gaining significant roles at such proving grounds as Glimmerglass, New York City Opera and Santa Fe. »

10 Apr 2005

Thinking About Wagner

THERE are moments in “Die Walküre,” Wagner’s most humane opera, that never fail to dissolve me, even though I know they are coming. One occurs fairly early in the first act. »

07 Apr 2005

Le Figaro Interviews Peter Sellars

C’est l’événement lyrique de l’année à Paris. L’oeuvre, d’abord : le Tristan et Isolde de Wagner, véritable opéra impossible, monument visionnaire où tout est tourné vers l’intériorité, a toujours fasciné. La distribution, ensuite : Ben Heppner et Waltraud Meier sont tout simplement les plus grands. L’équipe artistique, enfin. Le chef finlandais Esa-Pekka Salonen, pour ses débuts à l’Opéra de Paris et son premier Tristan, retrouvera le metteur en scène Peter Sellars, dont la conception scénique s’appuiera sur l’univers visuel du vidéaste Bill Viola. L’occasion d’interroger Sellars sur sa vision de l’oeuvre : surpris en pleine répétition d’orchestre (il y assiste car pour lui la mise en scène procède de la musique), il nous répond avec une générosité, un sens de l’humain, une intelligence pédagogique qui font de lui un être d’exception. »

01 Apr 2005

Merkur Interviews Lawrence Zazzo

Als Nachwuchshoffnung wird der amerikanische Countertenor Lawrence Zazzo weltweit gehandelt. Sein Münchner Debüt ist also fällig. In der Wiederaufnahme der bereits 1997 bejubelten Inszenierung von Claudio Monteverdis “L’incoronazione di Poppea” der Bayerischen Staatsoper – unter der Regie von David Alden und der musikalischen Leitung von Harry Bicket – ist er nun als Ottone zu sehen. »

30 Mar 2005

Philippe Jordan at the Met

On Monday night, the Metropolitan Opera began another run of Mozart’s “Don Giovanni,” but without music director James Levine in the pit. He was at Carnegie Hall, directing his new band, the Boston Symphony Orchestra. Conducting at the Met was Philippe Jordan, the sensational young Swiss. He is the son of the esteemed maestro Armin Jordan; indeed, they are the most noted father-son conducting pair since the Kleibers. But Philippe will far outpace Armin. That is the safe betting, at least. »

29 Mar 2005

Le Monde Profiles Rolando Villazon

Rolando Villazon est un ténor à sang chaud. Ce fils de Mexico est capable de vous attendre sur une place venteuse de Vienne, par une après-midi teigneuse, tête et mains nues, dans le grand froid qui tient encore la capitale autrichienne en cette mi-mars. La veille au soir, il incarnait avec une grâce incroyable un fragile et magnifique Roméo dans le Roméo et Juliette de Gounod, monté à la Wiener Staatsoper. »

28 Mar 2005

Deborah Voigt: The Comeback Kid

When the soprano Deborah Voigt was dropped from a Covent Garden production of Strauss’s Ariadne auf Naxos last year she claimed it was her inability to fit into a sleek black dress that prompted her dismissal. »

26 Mar 2005

The Independent Interviews Angela Gheorghiu

“If Puccini were alive today, I’d be in love with him. I am sure of it. He knew how to write for sopranos: he really loved them,” says Angela Gheorghiu. And this soprano knows Puccini’s heroines well, having most of them in her repertoire or in her plans. On her latest CD, a handsomely packaged set from EMI, she steps into the shoes of all his major soprano characters, with the exception of the adulterous Giorgetta in Puccini’s most impressionistic score, Il Tabarro. »

25 Mar 2005

An Interview with Peter Schreier

“200 oder 300” Matthäus-Passionen hat Peter Schreier (69) schon hinter sich, als Sänger, seit den 80er-Jahren in der Doppelfunktion als dirigierender Evangelist. So auch an diesem Karfreitag im Gasteig, wenn er das Opus mit dem Münchener Bach-Chor aufführt (14.30 Uhr, Live-Übertragung auf Bayern 4). Und damit wohl zum letzten Mal hier zu hören sein wird: Zum Jahresende will Schreier, einer der größten Bach-, Mozart- und Schubert-Interpreten unserer Zeit, seine Gesangskarriere beenden. »