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Elsewhere

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

Battles administration neglects FLO’s assets by defunding the program

The college administration and President Denise Battles’ recent decision to defund the Finger Lakes Opera came as a shock to many and a concern to more. This decision reflects the administration’s blatant disregard for the arts and reveals a mindset that is counterproductive to the mission of the college.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.


OPERA TODAY ARCHIVES »

News

<em>And London Burned</em>
24 Oct 2016

And London Burned: in conversation with Raphaela Papadakis

Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London. »

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17 Feb 2005

Edinburgh International Festival Confronts Cash Crunch

This year’s Edinburgh International Festival was facing a cash crisis last night after the postponement of a £600,000 emergency funding package. Last week, it emerged that Brian McMaster, director and chief executive of the EIF, had requested the money from Edinburgh City Council and EventScotland because the festival’s funding was “meeting the buffers”. »

17 Feb 2005

Classical Music — It's No Longer A Man's World

Since the time of Claudio Monteverdi, the Italian composer who lived from 1567 to 1643, classical music has been a man’s world. With some exceptions — such as 19th Century pianist-composer Clara Schumann — women achieved lim-ited prominence in the centuries-old art form. That is changing, and although they are still in the minority, women are appearing more frequently at the highest levels of classical music. »

15 Feb 2005

Importing Western Productions to the Bolshoi

Operatic and ballet productions imported from the West are becoming increasingly prominent on the repertory of the Bolshoi, Russia’s largest music theater. Local audiences met such imports with circumspection, but are now growing to like them. »

12 Feb 2005

Public Radio's Flagship Runs Aground

WETA-FM listeners who had hoped to prevent the widely anticipated decision by the public broadcasting station’s board of directors to drop classical music programs left its Shirlington offices disappointed last night. By an overwhelming majority, the board approved a resolution to focus on news and public-affairs programming. »

12 Feb 2005

Welsh National Opera Moves to Millennium Centre

This is Welsh National Opera’s big chance. Fifty-nine years after its birth, as the brilliant artistic reputation that it enjoyed in the 1980s falters along with attendances, the company has moved into a new home in the Wales Millennium Centre, a vast cultural emporium at the heart of the redeveloped Cardiff Bay. »

11 Feb 2005

Early Opera in Seattle

The Early Music Guild, an indispensable part of Seattle’s period-music scene for more than two decades, every once in a while steps back from presenting the best and the brightest musicians from around the world and produces extravaganzas of its own. To celebrate its 20th anniversary, in 1997, the guild presented a stellar reading of Handel’s “Carmelite Vespers” at St. James Cathedral, with Andrew Parrott leading the large forces. More recently was a weekend of Monteverdi chamber operas. »

11 Feb 2005

A New Opera Company Formed in Upstate New York

Three local opera groups announced Friday that they have merged to form a major new company, called Mercury Opera Rochester, which will launch its inaugural season in the fall of 2005. For its first season, the company plans to stage three original (and yet to be specified) productions — two smaller, community-style operas in the fall of 2005 and spring of 2006 at venues to be determined later, and a grand operatic performance at the Eastman Theatre in January 2006 that would feature, among other things, the Rochester Philharmonic Orchestra serving as pit orchestra. »

11 Feb 2005

Cleveland Opera's New Season

Singers both new and familiar to Cleveland will perform with Cleveland Opera during its 30th anniversary season starting in the fall. The season is the first programmed entirely by general director Robert Chumbley. »

10 Feb 2005

Ticket Prices Going Up At Wiener Staatsoper

Unter vielen Abonnenten der Wiener Staatsoper herrscht Aufregung. Der Grund: Ein Schreiben des kaufmännischen Geschäftsführers Thomas Platzer, in dem teilweise empfindliche Preiserhöhungen angekündigt werden. »

10 Feb 2005

Dresden Celebrates the 20th Anniversary of the Reopening of the Semperoper

Als am 13. Februar 1985 zur Wiedereröffnung der Semperoper die DDR-Nationalhymne erklang, mag die Zeile „Auferstanden aus Ruinen“ zumindest in den Gedanken vieler Zuschauer mitgeschwungen haben. Offiziell wurde der Text damals nicht mehr verwendet. »

10 Feb 2005

Revamping Opera Australia

A PROGRESS report on the state of the Victorian Government’s opera review made one thing clear this week: any new company will look nothing like the one that died in 1996. Victorian Arts Minister Mary Delahunty called interested parties to a meeting on Tuesday to brief them on the findings of a review of opera activities in the state, undertaken by strategic consulting firm LEK Consulting. »

10 Feb 2005

Turnover at Chicago

The Lyric Opera has effectively installed a turnstile backstage at the Civic Opera House to facilitate the comings and goings of the singers taking the principal roles of Floria Tosca and Mario Cavaradossi in its revival of the historic Franco Zeffirelli production. »

09 Feb 2005

Das Opernglas Interviews Anja Harteros

Als deutsche Sängerin im italienischen Fach Fuß fassen – Anja Harteros gelingt, was heute eher eine Seltenheit ist. Söhnke Martens sprach mit ihr in Hamburg. Ausschnitte aus dem Interview: Sind Sie musikalisch durch Ihre Familie geprägt? Nein, überhaupt nicht. In meiner Familie gibt es niemanden, der professionell Musik gemacht hat. Jedes Kind sollte das Hobby ausüben, das ihm Freude bereitete. Zuweilen tagte dann der Familienrat, und wir diskutierten eifrig über unsere Wünsche. Meine Mutter schlug mir das Geigenspiel vor, als ich 8 Jahre alt war. Ich war davon nicht besonders überzeugt. Erst ihre Bemerkung, dass dieses Instrument nicht jeder spielen könne, machte mich neugierig. Es hat mir auch wirklich Spaß gemacht. »

09 Feb 2005

This Summer at the Aspen Music Festival

The Aspen Music Festival and School will delve into the music of autobiography in its 2005 summer season. The season, under the theme of “Self-Portraits,” will highlight composers who have told the stories of their lives in their music. Among the notable works falling under the theme are Haydn’s “Farewell” Symphony, Tchaikovsky’s Symphony No. 6 and a semistaged performance of Strauss’ comic opera “Intermezzo.” Also to be presented are intensely personal works by Elgar, Mahler, Berg and Shostakovich. »

09 Feb 2005

As If You Were There

When the newly refurbished Royal Opera House reopened in December 1999, the great and the good found themselves trapped in their seats for a great slab of unstaged Wagner in German, with no introduction and no escape. Tony Blair, who was seated just in front of me, was clearly finding it hard-going; but to get out, he would have had to clamber over most of the royal family who, given the chance, might have beaten him to the exit. The Wagner, all agreed, was an unfortunate choice. »

07 Feb 2005

SF Chronicle Interviews David Gockley

The San Francisco Opera has appointed David Gockley, longtime artistic director of the Houston Grand Opera, to succeed Pamela Rosenberg. After 32 years in Houston, Gockley will succeed Rosenberg in January. On Sunday, he sat down for an exclusive interview with San Francisco Chronicle Music Critic Joshua Kosman. »

05 Feb 2005

Phoenix Rising — The Reconstruction of the Wiener Staatsoper

Hier spielt das Burgtheater”, tönte Raoul Aslan angesichts des unzer störten Etablissements Ronacher im April 1945. Die Delegation, angeführt vom damaligen Direktionsassistenten (und heutigen Josefstadt-Gesellschafter) Heinrich Kraus und Aslan als sprachgewaltigem Theaterdirektor, war nach dem verheerenden Bombenangriff vom 12. März 1945, bei dem nicht nur das Burgtheater, sondern auch die Staatsoper zerstört wurden, auf der Suche nach möglichen Spielstätten. Tatsächlich hob sich Ende April ‘45, als der Krieg noch gar nicht zu Ende war, mit Grillparzers “Sappho” erstmals im Ronacher der Vorhang. Für das Staatsopernensemble begann die Nachkriegszeit im Theater an der Wien. Die Stammhäuser konnten erst 1955 renoviert wieder ihrer Bestimmung übergeben werden. Kurz nach Abschluss des Staatsvertrags zelebrierte man sinnigerweise die Wieder-Eröffnung der Burg wieder mit Grillparzer: Die Wahl musste auf “König Ottokars Glück und Ende” fallen – mit dem legendären, umjubelten “Loblied auf Österreich”. »

02 Feb 2005

Seattle Opera Announces 2005/06 Season

[February 1, 2005] Seattle—Seattle Opera’s general director, Speight Jenkins, officially announced the company’s 2005/06 season today. The season opens October 15, 2005, with American composer Jake Heggie’s most recent — and newly revised — opera, The End of the Affair. In January, Seattle Opera presents Johann Strauss, Jr.’s ever-popular operetta, Die Fledermaus, featuring a trio of Wagnerians — soprano Jane Eaglen, tenor Alan Woodrow, and Richard Berkeley-Steele — in a comic turn. Jonathan Miller’s production of Mozart’s Così fan tutte follows in February and March 2006. In May, the season concludes with a new production of Verdi’s Macbeth, bringing together for the first time director Bernard Uzan and designer Robert Israel. »

01 Feb 2005

Markus Hinterhäuser — Salzburg Festival's Newly Designated Musik-Chef

Da würde ich lügen”, sagt er, “wenn ich jetzt die Grundlinien eines großen Konzepts zu skizzieren versuchte, das ich für die Salzburger Festspiele habe” – Markus Hinterhäuser gibt sich im “Presse”-Gespräch pragmatisch: Was er über Musik und über die Möglichkeit denkt, ein spannendes Programm zu entwickeln, hat er schließlich früher bereits gezeigt. Die Meldung kam ja nicht überraschend: Hinterhäuser, Mitinitiator des “Zeitfluss”-Festivals, das am Rande der Salzburger Festspiele seit den frühen neunziger Jahren für Beschäftigung mit der Avantgarde gesorgt hat, wird an der Seite des designierten Festspielintendanten Jürgen Flimm das Musikprogramm in Salzburg betreuen. »

01 Feb 2005

Aida at Copenhagen's New Opera House

Seen at night, the warmly lit interior of Copenhagen’s new opera house glows invitingly across the water. The building is situated in a uniquely privileged position, opposite the Amalienborg Palace, lining up on an axis with the proudly domed Frederikskirken — so close to the city’s heart that arias could easily waft over the water on an evening breeze. »

31 Jan 2005

Teatr Wielki Announces Festiwal Hoffmannowski Schedule

Festiwal Hoffmannowski -- Polsko-Niemiecki Festiwal Operowy Teatr Wielki in Poznan, Poland, has announced the schedule for the Festiwal Hoffmannowski: Saturday, 2 April, 19.00 Wolfgang Amadeus Mozart Cosi fan tutte, Premiere!!! Teatr Wielki, Poznan Sunday, 3 April, 19.00 Wolfgang Amadeus Mozart,... »

28 Jan 2005

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28 Jan 2005

Passing the Baton to Levine

Boston Symphony Orchestra music director James Levine will be in residence at Tanglewood this summer for almost a month of rehearsals and performances. He will lead five concerts and conduct one work at Tanglewood on Parade. This will mark Levine’s first performance at Tanglewood since 1972, when he conducted a single concert. The other big news is that for the first time, all nighttime concerts in the Koussevitzky Music Shed will be projected on large video screens to the audience on the lawn. For several years the screens have been popular additions to a handful of concerts. »

28 Jan 2005

I'll Take Houston

Patrick Summers, music director at the Houston Grand Opera, has settled into Houston on his own, slightly unconventional terms. He’s building a house a few minutes west of downtown and has acquired a Cavalier King Charles spaniel, Julius. He’s smitten with the city’s contemporary art scene: “There’s a lot of really interesting painting going on in this city.” »

27 Jan 2005

MIDEM Classical Awards Announced

German music major Deutsche Grammophon (DG) picked up three prizes at the inaugural MIDEM Classical Awards in Cannes, January 24. Top prizes also went to Belgian counter-tenor and conductor René Jacobs and Welsh pianist Llyr Williams. The awards were presented for the first time at MIDEM, the World’s Music Market (Cannes, France, January 23-27, 2005). »

26 Jan 2005

Beverly Sills Resigns From Met Post

William C. Morris, president and chief executive officer of The Metropolitan Opera, announced today that Beverly Sills has resigned from her volunteer post as chairman of The Metropolitan Opera for family and personal reasons effective immediately. »