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Elsewhere

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.


OPERA TODAY ARCHIVES »

Commentary

An interview with Natalya Romaniw
03 Jul 2017

Natalya Romaniw: 'one of the outstanding sopranos of her generation’

There can hardly be a dry eye in the house, at the ‘Theatre in the Woods’ at West Horsley Place - Grange Park Opera’s new home - when, in Act 3 of Janáček's first mature opera, Natalya Romaniw’s Jenůfa realises that the tiny child whose frozen body has been discovered under the ice is her own dead son. »

Recently in Commentary

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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. »

24 Mar 2005

Operatic Detritus

In an introduction to the score for his “Darkbloom: Overture for an Imagined Opera,” which will have its premiere with the Boston Symphony Orchestra tonight, John Harbison calls the piece the remnant of a misguided project, an “unproduceable” opera based on a “famous and infamous” American novel. »

21 Mar 2005

James Levine on Opera in Concert

CAMBRIDGE—James Levine doesn’t like pushy producers and stage directors any more than most opera lovers do. In a panel discussion at Harvard last Monday centered on the BSO’s recent performances of Wagner’s ‘’The Flying Dutchman,” the music director spoke about the advantages of opera in concert. »

20 Mar 2005

The Opera That Changed a Career

He was the toast of the new Russian Communist regime, a young composer who had captivated audiences under the banner of the emerging cultural revolution. But in 1936, Dmitry Shostakovich’s reputation plummeted after Stalin attended his immensely popular opera, Lady Macbeth of the Mtsenk, at the Bolshoi Theater. »

05 Mar 2005

Celebrating Lorin Maazel

Wien ist zwar Stätte vieler seiner künstlerischen Triumphe – und doch auch des vielleicht bitters ten Wermutstropfens in einer formidablen Karriere: Lorin Maazel, der am Sonntag 75 Jahre alt wird, war einer der kürzestdienenden Direktoren der Staatsoper, kapitulierte nach nur zwei Spielzeiten, weil die Angriffe gegen ihn unerträglich geworden waren und die Kulturpolitik, verbündet mit den Angreifern, versagte. Immerhin: Das so genannte “Blocksystem”, eine Spielplangestaltung in “kleinen Serien”, wie sie der Nachfolger Maazels dann nannte, gab zwar den Ausschlag für eine Kampagne gegen den dirigierenden Direktor, doch pflegt die Staatsoper es bis heute. »

04 Mar 2005

A Profile of Brenda Harris

Singing offbeat, nontraditional roles can be a path to oblivion for an opera singer. For Brenda Harris, that road has led to fame, fortune and as much work as she can handle. It also means that Harris often is learning new roles. »

03 Mar 2005

Mozart? Maybe Not.

01. März 2005 Ein Rokokoherr mittleren Alters, Frack, Spitzenjabot, gepudertes Haar – könnte das nicht Mozart sein? Niemand weiß, wie der Komponist wirklich ausgesehen hat. So galt es denn als „Weltsensation”, als die Berliner Gemäldegalerie ihren bisherigen „Herrn im grünen Frack” vor wenigen Wochen aufgrund einer computergestützten Analyse des Musikliebhabers Wolfgang Seiller als neu entdecktes Mozart-Porträt präsentierte. Gemalt hatte es der seinerzeit renommierte Münchner Porträtist Johann Georg Edlinger „vor 1790”, was aber nun auf „um 1790” umfunktioniert wurde. »

02 Mar 2005

James Levine and the 21st Century

We’re undeniably in the era of James Levine. The Cincinnati-born, 61-year-old conductor is right now art music’s Great Enabler. As music director of the Metropolitan Opera for nearly the last 30 years and in the home stretch of his first season as chief conductor of the Boston Symphony Orchestra, his potential for goosing the possibilities of 21st-century classical music performance is unique. »

26 Feb 2005

Dietrich Fischer-Dieskau at Berlin Cathedral's 100 Year Jubilee

Der Berliner Bariton Dietrich Fischer-Dieskau gehörte über Jahrzehnte hinweg zu den weltweit gefeierten Liedsängern. Der fast 80jährige ist nach wie vor als Dirigent, Maler, Buchautor, Ehrengast aktiv – und wird heute im Konzert des Rundfunk-Sinfonieorchesters Berlin zum 100jährigen Jubiläum des Berliner Doms als Sprecher auftreten. Volker Blech sprach mit Dietrich Fischer-Dieskau. »

26 Feb 2005

Nikolaus Harnoncourt at Zurich Opera

It is the day before the opening night. Zurich is agog for the new production of Monteverdi’s opera L’incoronazione di Poppea, but there is a snag. The Poppea has gone sick. A new one has had to be flown in from Frankfurt, and in only a matter of hours has had to be acclimatised to the radical staging and familiarised with the edition of the score that Zurich Opera is using. »

23 Feb 2005

Die Welt Interviews Rolando Villazón

Der 32-jährige Mexikaner Rolando Villazón hat sich in seinen wenigen Karrierejahren bereits als eine der größten Tenor-Hoffnungen erwiesen. Ein Interview mit dem nie stillsitzenden Lockenkopf ist wie eine Bühnenvorstellung. Manuel Brug hat es erfahren. »

18 Feb 2005

A Star Is Born

Phumzile Sojola got the call less than 36 hours before the concert. University of Kentucky alum Gregory Turay, who was set to be the featured soloist on the Lexington Philharmonic’s Feb. 4 concert, was sick and might not be able to sing. The orchestra needed a tenor in the wings. OK, Sojola thought. He knew the scheduled arias. »

18 Feb 2005

Le Figaro Profiles Valery Gergiev

Pas facile à coincer, Valery Gergiev. Le chef russe le plus charismatique de sa génération a voué sa vie au Kirov de Saint-Pétersbourg, dont il a fait l’un des théâtres lyriques les plus recherchés du monde. Mais il anime aussi trois festivals : les Nuits blanches de Saint-Pétersbourg, le Festival de Pâques de Moscou et celui de Mikkeli en Finlande. N’oublions pas non plus qu’il est directeur musical de l’Orchestre philharmonique de Rotterdam, premier chef invité du Metropolitan Opera de New York, et l’un des maestros préférés du Philharmonique de Vienne, qu’il dirige tant au Musikverein qu’au Festival de Salzbourg et en tournée. Avec un tel calendrier, guère de place pour des invitations à droite et à gauche, et s’il a fait récemment ses débuts aux «Proms» de Londres avec l’Orchestre symphonique de la BBC, c’était une exception dont on se demande si elle va se généraliser, donnant un nouveau tour à une carrière jusqu’ici focalisée sur quatre orchestres. »

17 Feb 2005

Marcello Viotti Has Died

BERLIN – Marcello Viotti, the music director of Venice’s famed La Fenice Theater who also conducted at New York’s Metropolitan Opera and other leading houses, died at a German hospital after falling into a coma. He was 50. Viotti died Wednesday night after being in a coma for several days at a clinic in Munich, Germany, his agent, Paul Steinhauser, said by telephone from Vienna, Austria. »