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Elsewhere

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.


OPERA TODAY ARCHIVES »

Commentary

26 Feb 2019

Handel Singing Competition semi-finalists announced

The Handel Singing Competition has announced its 13 semi-finalists who will be competing in the 2019 Competition. The semi-final is due to take place on 5 March at Grosvenor Chapel, and the final is on 6 April at St George’s, Hanover Square - both in front of a live audience. The Competition this year received over 170 applications from all around the world, from 25 countries as far afield as Argentina, Australia, Israel, the United States and Canada. »

Recently in Commentary

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14 
08 May 2006

Hello, cruel world

With its mismatched couples and absurd plot, Cosi Fan Tutte is thought of as Mozart's 'frivolous' opera. »

07 May 2006

Andrew Clark: All the world’s his stage

The scene is an urban wasteland at night. A young man is having sex with a woman in the back of a car while his sidekick keeps watch. An older man appears, hell-bent on attacking his daughter’s seducer. »

20 Apr 2006

Alex Ross on Adriana Mater

A new opera from the Finnish composer Kaija Saariaho. »

09 Apr 2006

The Guardian on Helen of Troy and Opera

She'll always have ParisSexual icon, dark temptress or a smutty comedienne? Helen of Troy has fascinated writers and composers for centuries. »

07 Apr 2006

Rosie Millard on the price of tickets at Covent Garden

The Royal Opera House is publicly funded - so why does it charge more than £100 per seat, asks Rosie Millard »

03 Apr 2006

Young Man in a Hurry — Iestyn Davies

I met with Iestyn Davies at 1330 hours precisely, on the steps of the Hippodrome theatre, Bristol, England, where he was singing the role of Hamor in Welsh National Opera’s riveting production of Handel’s “Jephtha”. »

20 Mar 2006

ALEX ROSS: SONGS OF EXPERIENCE

Ian Bostridge sings Benjamin Britten. »

20 Mar 2006

Snip judgment

Rupert Christiansen laments the lost art of the castrato »

28 Feb 2006

Fabulous Mister Fat Belly

He's a terrible old rogue - but to opera composers, he's irresistible. Tim Ashley on the deathless appeal of Falstaff »

16 Feb 2006

LA Times: A sense of adventure lost. And found.

Conservatism is once more on the rise in the orchestral world but the starchy old Met, under new boss Peter Gelb, is trying to buck the trend. »

16 Feb 2006

The Guardian Interviews Violeta Urmana: 'My voice decides what's good for me'

First she was forced to sing mezzo roles. Then she was invited to be president of Lithuania. Violeta Urmana tells Tim Ashley why she prefers life as a soprano »

10 Feb 2006

Remembering Schumann

According to Charles K. Moss, "Robert Schumann was one of the driving forces of the young Romantic movement in Germany. And like many in his generation, Schumann did not seem destined to become a composer, let alone one who would be so influential in the development of a new style. But music became all-important to Schumann, and he displayed multiple talents as a performer, composer, and literary exponent of Romanticism, championing new composers and their works and influencing the musical tastes of a generation." This year marks the 150th anniversary of Schumann's death. »

08 Feb 2006

The truth about Shostakovich in his centenary year

Dmitry Shostakovich survived Stalin's rule by the skin of his teeth. But is his music really the Soviet propaganda that many people claim? »

30 Jan 2006

Alex Ross on Beethoven's Great Fugue

Secrets of a Beethoven manuscript. »

17 Jan 2006

IT MUST NOT HAVE BEEN EASY BEING MOZART

It must not have been an easy life, being Wolfgang Amadeus Mozart (1756-1791). Perhaps even more so after the fact when scholars began to do their research and “wanna bes” began their intimations and psychoanalyzing. In the more seventy-five years of Mozart scholarship and its coming of age, one must ask: How much more is there to learn, to research? »

14 Jan 2006

The Guardian on Dmitri Shostakovich

In from the cold »

13 Jan 2006

The New San Francisco Opera

SAN FRANCISCO OPERA [11 January 2006]: "The San Francisco Opera today unveiled a new visual identity for the Company, heralding the beginning of a new era under the leadership of David Gockley, who became the Company’s sixth general director on January 1, 2006. Elements of San Francisco Opera’s new image include a new logo, a glamorous and sophisticated new look for the print materials, and a major redesign of the Company’s Web site." »

12 Jan 2006

Tributes to Birgit Nilsson

Birgit Nilsson died on 25 December 2005 at age 87. Her death was announced on 11 January 2006. Here are three tributes to this great soprano. »

09 Jan 2006

DNA detectives discover more skeletons in Mozart family closet

Scientists reveal results of tests on skull unearthed by Viennese gravedigger »

07 Jan 2006

The Guardian on Beaumarchais

How to stage a revolutionBeaumarchais, the dramatist behind The Marriage of Figaro and The Barber of Seville, was more than a mere playwright - he shaped the 18th century. »

07 Jan 2006

The Guardian on Lorenzo da Ponte

The phoenixA poet, priest and womaniser, who ended his days as a grocer, he also wrote the words to some of the greatest operas. On the eve of Mozart's 250th anniversary, Anthony Holden looks at the colourful life of his librettist, Lorenzo da Ponte »

01 Jan 2006

A musical genius? No, Mozart was just a hard-working boy

With the 250th anniversary of the composer's birth just weeks away, the source of his brilliance is being disputed. Alice O'Keeffe reports »

20 Dec 2005

Johann Wolfgang von Goethe himself as a musical hero: The case of Lehár’s Friederike

Franz Lehár was not the first to think of Goethe as an opera or operetta hero. There was the precedent of Giacomo Meyerbeer himself who in his old age wrote theatre music for a piece called La Jeunesse de Goethe. The piece was never performed. »

11 Dec 2005

Grammy Award Nominees — Classical Vocal Music

The following are the nominees for the Grammy award in selected categories pertaining to classical vocal music. »

10 Dec 2005

HANDEL'S GIULIO CESARE

Giulio Cesare in Egitto was the fifth of the full-length operas composed by Handel for London’s Royal Academy of Music, the opera company founded in 1719 by a group of noblemen with the objective of staging Italian opera seria. »

08 Dec 2005

A Fresh Look at Giulia Grisi

Giulia Grisi must be, by whatever standard is applied, regarded as one of the greatest and most important soprano singers who ever graced the operatic stage, »

15 Nov 2005

Symphony and Opera take different paths to getting new behinds into those velvet seats

Classical performing organizations are feeling a little antsy nowadays, all except for the ones that are flat-out running scared. »

11 Nov 2005

FeedBlitz Subscribers

For those who are subscribers to FeedBlitz, please take notice that changes have been made to the settings to correct certain errors. Subscribers to Opera Today (All Articles) will receive articles but no news headlines. Subscribers who want both articles... »

01 Nov 2005

vilaine fille: Turandot

Puccini's Turandot is an opera to whose sinister charms I was long immune. I'm not sure what happened in recent years to make me love it. »

29 Oct 2005

The Paris Opera Scene

The city-funded Théâtre du Châtelet, an operatic David to Paris Opera’s Goliath, managed to make the biggest artistic splash of the new season. Richard Wagner’s Die Walküre, which opened October 21, following Das Rheingold by two days, was generally well cast, surely conducted and, as staged by Robert Wilson, brimming with theatrical interest. The two final operas will follow in November/December with two complete cycles offered in April. »

27 Oct 2005

“La Muette de Portici” : a small revolt in Ghent

No opera history is complete without mentioning that Auber’s La Muette de Portici caused Belgium’s revolution against Holland in 1830. As a historian I know there are three falsehoods in that one small sentence. »

23 Oct 2005

The twists and trysts of Tosca

A few years ago, I had the rare experience of attending a performance of Tosca in a small farm community where opera was a fairly new commodity. After the second act ended, with Scarpia's corpse lying center stage, I happened to overhear a young, wide-eyed woman say to her companion, "I knew she was upset, but I didn't think she'd KILL him!" »

17 Oct 2005

Alex Ross on City Opera’s fall season

New York City Opera opened in February, 1944, at the height of the battles of Anzio and Truk. If skeptics thought it frivolous to start an opera company in the middle of a world war, Fiorello LaGuardia straightened them out: the music-loving Mayor believed that opera was essential to city life, and he wanted lower- and middle-class New Yorkers to have it at affordable prices, without pretension. »

10 Oct 2005

The Operatic Pushkin

Aleksandr Sergeevich Pushkin (1799-1837) is generally considered Russia’s greatest poet. According to Andrew Kahn, his contemporaries held him “above all the master of the lyric poem, verse that is famous for its formal perfection and its reticent lyric persona, and infamous for its resistance to translation.” [Alexander Pushkin, The Queen of Spades and Other Stories, trans. Alan Myers, Oxford and New York: Oxford University Press, 1997] »

05 Oct 2005

Abbé Prévost's Manon Lescaut

The Story of the Chevalier Des Grieux and Manon Lescaut by Abbé Prévost stands as one of the great works of French literature. It first appeared in 1731 as an appendix to the series, Memoirs and Adventures of a Man of Quality. It was later revised in 1753 for independent publication under the title Les Aventures du chevalier Des Grieux et Manon Lescaut with illustrations by Pasquier and Gravelot. »

29 Sep 2005

New World Symphony

By Russell Platt [The Nation, 3 October 2005] Classical music in America, we are frequently told, is in its death throes: its orchestras bled dry by expensive guest soloists and greedy musicians unions, its media presence shrinking, its prestige diminished,... »

24 Sep 2005

SOUNDS FROM THE STUDIO

The EMI label’s new version of “Tristan und Isolde,” starring Plácido Domingo, has received weirdly apocalyptic advance publicity: it has been described as the final large-scale opera recording in history. »

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. »