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Elsewhere

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Bampton Classical Opera Young Singers’ Competition 2017

Bampton Classical Opera’s third Young Singers’ Competition takes place this autumn, culminating in a public final at Holywell Music Room, Oxford on November 19. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Peter Kellner announced as winner of 2018 Wigmore Hall/Independent Opera Voice Fellowship

Independent Opera (IO) was very present at the Wigmore Hall last week. On Thursday 5 October, IO announced 26 year old Slovakian bass Peter Kellner as the winner of the 2018 Wigmore Hall/IO Voice Fellowship, a two-year award of £10,000 plus professional mentoring from IO and the Wigmore Hall. A graduate of the Konzervatórium Košice Timonova and the Mozarteum University Salzburg, Peter is currently a member of Oper Graz in Austria where later this season he will sing the title role of Mozart’s Le nozze di Figaro and Colline in Puccini’s La bohème.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

‘Never was such advertisement for a film!’: Thomas Kemp and the OAE present a film of Strauss's Der Rosenkavalier at the Oxford Lieder Festival

Richard Strauss’s Der Rosenkavalier was premiered at the Dresden Semperoper on 26th January 1911. Almost fifteen years to the day, on 10th January 1926, the theatre hosted another Rosenkavalier ‘premiere’, with the screening of a silent film version of the opera, directed by Robert Wiene - best known for his expressionistic masterpiece The Cabinet of Dr Caligari. The two-act scenario had been devised by Hugo von Hoffmansthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).


OPERA TODAY ARCHIVES »

News

Melos Sinfonia perform <em>Written on Skin</em> in Cambridge, London and St Petersburg
15 Oct 2017

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.  »

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25 Jan 2005

Merkur Interviews Katharina Wagner

Papa konnte doch nichts Besseres passieren: Katharina Wagner, Tochter des Bayreuther Festspielchefs Wolfgang Wagner und damit heftig für seine Nachfolge gehandelt, hat mit bislang zwei Opernprojekten ihre Klasse gezeigt. 2002 debütierte die heute 27-Jährige als Regisseurin mit Richard Wagners “Fliegendem Holländer” in Würzburg, 2004 folgte in Budapest der “Lohengrin”. Nach zwei Werken ihres Urgroßvaters inszeniert sie, die Theaterwissenschaft studierte und unter anderem bei ihrem Vater und bei Harry Kupfer assistierte, fürs Gärtnerplatztheater Lortzings “Waffenschmied”, Premiere ist am 20. Februar. »

24 Jan 2005

Is Opera Relevant in Scotland?

WHILE Scotland’s national opera company is in meltdown, how ironic is it that the opera school of our national music conservatoire is flying high? The two institutions may only be sited yards across the road from one another in Glasgow’s Cowcaddens district, but the fortunes of Scottish Opera and the Alexander Gibson Opera School at the Royal Scottish Academy of Music and Drama (RSAMD) could hardly be more diametrically opposed. »

22 Jan 2005

Salzburg To Celebrate Wolfie's 250th

SALZBURG, AUSTRIA – Austria’s venerable Salzburg Festival will stage all 22 of Wolfgang Amadeus Mozart’s operas and musical theatre works next year, the 250th anniversary of the composer’s birth. Simply staging the composer’s seven most-performed operas – including Le Nozze de Figaro and Idomeneo — “would have been too little for Salzburg,” festival director Peter Ruzicka told reporters Thursday. »

21 Jan 2005

Muti in Milano

Here, indicates the maestro, is the “punto Callas”. Riccardo Muti and I are standing onstage at La Scala, Milan, where so many great operas have been premiered and countless distinguished singers have sung. Facing the deserted auditorium, he points to an unmarked spot on the floor, right of centre, which Maria Callas established as her sovereign territory. It is the punto, or position, which best showed off a singer’s voice in a theatre renowned for its acoustical quirks. “There was great competition for this point,” smiles Muti. “In a quartet you would have a tower of singers.” Breaking the eerie stillness, the maestro claps his hands to show how much more flattering the acoustic has become since the great Milanese theatre reopened last month after a three-year renovation. Has La Scala ever resonated so crisply to the sound of one person’s applause? Muti’s point is that there is no longer any need for a “punto Callas”. »

20 Jan 2005

Peace is at hand in San Diego

A San Diego Opera-San Diego Symphony agreement reached this week to share musicians signifies a new level of achievement for two arts organizations that have fought second-tier status for years. It also ushers in unprecedented cooperation for these major arts organizations, which didn’t always work cooperatively or compatibly. »

20 Jan 2005

Seeking Greatness at Lincoln Center

NEW YORK—The British are coming. So are the Russians, along with an Argentinean and the usual Austrians and Germans. Lincoln Center’s 2005-06 “Great Performers” lineup was announced Tuesday, and the 40th season of the multimedia series once again draws a multicultural mix of classical performers. The opening events of “Great Performers,” Sept. 28-Oct. 2, bring the return of the virtuoso London Symphony Orchestra under Sir Colin Davis in programs ranging from the Verdi Requiem to Sibelius and Vaughan Williams. That kicks off a season featuring visits from 10 international orchestras, plus 31 recitals and chamber concerts. »

20 Jan 2005

Ghosts of Performances Past

Washington DC (PRWEB) January 20, 2005—The National Theatre is a plethora of stars of the past, the present, and the future of the great American theatre. Almost every great stage performer over the past century has graced the stage of this historic theatre. The oldest cultural institution in the Nation’s capital, the National Theatre is one of the oldest continuously operating theatres in America. The National Theatre, managed by the Shubert Organization, has presented numerous North American and World premieres of professional Broadway Class-A Legitimate Productions throughout its history. The National Theatre over looks the International Trade Center and Freedom Plaza on “The Avenue of the Presidents”. Since its inception, the National Theatre has been crowned “The Theatre of the Presidents” having performed for every American President and First Lady. »

20 Jan 2005

Cincinnatus Idyll

There was no scowling Simon Cowell, no one singing while holding a scooter and no William Hung. But Cincinnati’s own classical version of “American Idol” auditions took place Friday and Saturday at Music Hall. Budding singers and classically trained performers sang with all the fervor of “Idol” winner Fantasia in an attempt to land a spot in one or more of Cincinnati Opera’s four summer productions. »

20 Jan 2005

Carmen at Toronto

Richard Bradshaw is finally ready to lift the curse and bring Carmen back to Toronto next fall as part of the Canadian Opera Company’s final season at the Hummingbird Centre. Georges Bizet’s hot-blooded saga about the Spanish gypsy and jealous soldier is one of the greatest crowd-pleasers in the opera repertory, but at the COC a black cloud has been hanging over it for the past 12 years. »

20 Jan 2005

Philadelphia Opera Company's 2005-2006 Season

The premiere of “Margaret Garner,” plus a late Verdi masterpiece, and Figaro’s twin adventures as told by Rossini and Mozart make up the Opera Company of Philadelphia’s 2005-2006 season. For the second year, the company will present four operas with six Academy of Music performances each. “We hope that we will be able to return to five productions in the 2006-2007 season,” said the company’s general and artistic director Robert Driver as the ‘05-’06 season was announced yesterday. »

14 Jan 2005

Opera in the UK

I HOPE you made the most of last year’s opera highlights because 2005 looks pretty dull by comparison. The resignation of Scottish Opera’s music director, Sir Richard Armstrong, has added to the company’s woes. With only three productions in the foreseeable future, the main risk is that the audience forgets the company exists. The vanishing audience is a spectre that haunts other companies: ENO must be wondering what became of an audience that was more like a loyal football crowd. »

14 Jan 2005

Opera in Paris

Le premier temps fort de cette deuxième partie de saison lyrique sera La Flûte enchantée bientôt proposée par l’Opéra Bastille : on a déjà vu dans une halle d’usine de Bochum ce spectacle étonnant conçu par les Catalans de la Fura del Baus, à l’époque où Gérard Mortier dirigeait le Festival de la Ruhr. Comment les matelas gonflables et la science-fiction philosophique imaginés par ces plasticiens virtuoses passeront-ils à Paris, et comment Marc Minkowski, qui avait très bien dirigé l’oeuvre en Allemagne, sera-t-il reçu par l’Orchestre de l’Opéra ? On le saura à partir du 24 janvier. Deux jours après, on suivra aussi, à Garnier, le second Couronnement de Poppée de la saison, après celui de McVicar aux Champs-Elysées : le metteur en scène, David Alden, est aussi anglais, et la divine Antonacci ne sera plus Néron mais Poppée. »

12 Jan 2005

SFO Announces 2005-2006 Season

The main entrance of the War Memorial Opera House.Photo by Terrence McCarthy SAN FRANCISCO — General Director Pamela Rosenberg announced details of San Francisco Opera's 83rd Season during a press meeting at the Opera House on Wednesday, January 12.... »

12 Jan 2005

David Gockley Now in the Running at SFO

SAN FRANCISCO Opera director search adds Houston veteran Once not in running, David Gockley now a leading candidate Joshua Kosman, Chronicle Music Critic Tuesday, January 11, 2005 David Gockley, the visionary longtime general director of the Houston Grand Opera, has... »

09 Jan 2005

Kurtag's Kafka Fragments at Carnegie Hall

KAFKA and Kurtag. This natural coupling of writer and composer telegraphs with alliterative grace a century of modernism, a deeply felt spiritual condition and a grasping for genuine personal expression through violently impersonal times. The Hungarian composer Gyorgy Kurtag was born in 1926, two years after Kafka’s death, but their sensibilities are interwoven in one of Mr. Kurtag’s most effective works, “Kafka Fragments,” for soprano and violin. These settings of short excerpts from Kafka’s diaries, letters and notebooks will be performed this week by the soprano Dawn Upshaw and the violinist Geoff Nuttall, in a new staging directed by Peter Sellars, as part of Ms. Upshaw’s Perspectives series at Carnegie Hall. »

08 Jan 2005

Tippett's The Knot Garden at Scottish Opera

The Knot Garden Sir Michael Tippett sung in English The Knot Garden, with a libretto by the composer, has a typically enigmatic title. The elaborate Elizabethan Knot Garden often resembled a maze - and the reference to Shakespeare's time is... »

07 Jan 2005

Lyric of Chicago's New Season

Lyric plays it safe with season schedule By John von Rhein Tribune music critic January 6, 2005 Now at the midpoint of its golden jubilee season, Lyric Opera of Chicago is faced with carrying its winning streak into the company's... »

06 Jan 2005

Zeffirelli Has A Conniption

Franco Zeffirelli, one of the world’s best-known opera directors, yesterday branded the inaugural season of the newly refurbished La Scala opera house a disgrace. Zeffirelli accused the opera house of inviting second-rate conductors to perform. Writing to a journalist on the Italian daily Corriere della Sera, who had written approvingly of the programme, he said the situation “risks becoming utterly absurd and developing into a scandal of truly international proportions because La Scala belongs to the whole world”. »

05 Jan 2005

A Dead-end at Abbey Road?

Twilight of the CD Gods? A Studio 'Tristan' May Be the Last Ever By MICHAEL WHITE LONDON, Jan. 4 - The EMI recording studios at Abbey Road in north London are always a surprise when you walk through the modest... »

01 Jan 2005

Classical Music Sales Looking Up

A Year When Classical Labels Came Through By ANTHONY TOMMASINI In 2003, the problems affecting the classical recording business seemed daunting: markets flooded with multiple versions of the standard repertory; declining sales; widespread layoffs in the offices of the major... »

01 Jan 2005

La Serva Padrona in Boston

Soprano Amanda Forsythe has sung so often with baritone David Kravitz that she was only mildly surprised recently when she Googled her name, and up popped a reference to “Amanda Kravitz.” Tonight and tomorrow afternoon, Forsythe is paired with Kravitz again for Pergolesi’s delicious little opera “La Serva Padrona” (“The Maid as Mistress”), presented by Boston Baroque as part of its annual New Year’s Eve/New Year’s Day gala at Sanders Theatre. »

30 Dec 2004

Tsar's Bride at the Mariinsky

ST. PETERSBURG, December 29 (RIA Novosti) – The city’s Mariinka (Kirov) theater is to open its next season here today with Nikolai Rimsky-Korsakov’s “Tsar’s Bride” opera. Talking to RIA Novosti, people at the Mariinka theater’s press center noted that this was a joint production involving the theater and Holland’s Diaghilev Festival Foundation. The new stage version of this opera was first performed December 10 in Groningen, Holland. »

29 Dec 2004

An Overview of Opera at Spoleto Festival USA

Spoleto Festival USA has announced the production of three operas for 2005. These are: Die Vögel (The Birds) Lost when Braunfels was blacklisted by the Nazis in the late 1930s, the work has never received a fully staged performance... »