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Elsewhere

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.


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Orfeo ed Euridice (Arthaus Musik 108103)
25 Aug 2014

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.  »

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20 Jun 2013

St. Louis: Winner and Still Champion

With the world premiere of Champion, the enterprising Opera Theatre of Saint Louis set the bar very high indeed for the summer festival season. »

16 Jun 2013

Adding Movie Magic to The Magic Flute

What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?  »

09 Jun 2013

Les Contes d’Hoffmann in San Francisco

Just when you thought the protagonist was Hoffmann! Who, rather what stole the show? »

03 Jun 2013

Lohengrin, Welsh National Opera

Wagner’s Lohengrin is not an unfamiliar visitor to the UK thanks, in the main, to Elijah Moshinsky’s perennial production at Covent Garden. »

30 May 2013

Alessandro Scarlatti’s Il Trionfo dell’Onore

Just when you imagine you’ve got the operatic time-line fixed in your mind in a clean sweep of what goes where and when and how, you hear another work from another forgotten corner of the repertory that upends one’s conclusions. »

16 May 2013

Parsifal, Bayreuth 2012 Live

Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts. »

14 May 2013

Wozzeck at ENO

“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.  »

01 May 2013

Kate Lindsey at Glyndebourne

It would seem a logical step for the mezzo-soprano Kate Lindsey to take on the role of the Composer in Richard Strauss’s Ariadne auf Naxos. »

01 May 2013

The Damnation of Faust, London

Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.  »

16 Apr 2013

Kaufmann Wagner

The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.  »

31 Mar 2013

Nabucco, Royal Opera House, London

“Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s’ammanti!”. Verdi’s Nabucco at the Royal Opera House respected the spirit of the opera. »

18 Mar 2013

Götterdämmerung at the Staatsoper Berlin

In the final of scene of Götterdämmerung in a new production at the Staatsoper Berlin, Brünnhilde appears in a flowing pink gown just as the music has modulated and penetrates the hall of the Gibichungs, represented by rows of glowing translucent boxes that preserve the dismembered limbs of their victims.  »

03 Mar 2013

Bel Canto Queen Jessica Pratt

When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.  »

02 Mar 2013

Samson and Delilah, San Diego Opera

Samson and Delilah is the only opera by Camille Saint-Saens that is still regularly performed. He had written two previous operas and would write several more, along with a long list of instrumental pieces including The Carnival of the Animals. »

26 Feb 2013

Rigoletto at the Met

Michael Mayer’s glitzy neon lights production, set in Rat Pack-era Sin City, proves a fitting backdrop for an opera about a curse »

10 Feb 2013

Joyce DiDonato: Drama Queens

Joyce DiDonato brought her Drama Queens tour to the Barbican Hall last night, 6 February 2012. Accompanied by Il Complesso Barocco, directed by Dmitry Sinkovsky, she enabled us to hear a wide range of arias by mainly Italian baroque composers from Monteverdi to Handel, by way of Porta, Cesti, Orlandini and Hasse. »

06 Feb 2013

Fille du Regiment from San Diego Opera

Born to a very poor family in 1797, Gaetano Donizetti was lucky enough to become the pupil of Johann Simone Mayr, the Maestro di Capella of his native city, who recognized his talent and made sure he received appropriate instruction.  »

01 Feb 2013

Maria Stuarda at the Met

The Met’s opulent and well-sung Maria Stuarda cannot overcome its insipid libretto. »

15 Jan 2013

L’Italienne à Alger in Marseille

Once a mainstay of the repertory L’Italiana in Algeri now usually gives way to Il Turco in Italia when an opera company wants to give Il barbiere di Sivigllia and La cenerentola a rest.  »

23 Dec 2012

Subject: Aimez-vous Meyerbeer?

Well, so many don’t nowadays, it appears to me, judging by the critical reception of Robert le Diable at the ROH. Rum-ti-tum? We recall Macbeth, Rigoletto, Trov and even Trav being characterised thus, popular fare but risible or blush- making, yet those works now command the highest respect.  »

14 Dec 2012

Vienna: the window to modernity

This recital, which focused on a narrowly specific time and place — 1888-1933 Vienna — paradoxically illuminated not only the musical scope and richness of that epoch but also, as Renée Fleming notes in her prefatory programme article, the extraordinary extent of the diversity, transformation and flux, both historical and cultural, that characterised the era. »

05 Dec 2012

WNO proves a point with Handel’s Jeptha

They say that there’s nothing worse than a musically-obtuse staging of any opera to put a rookie opera-goer off a composer (or even opera itself) for life.  »

18 Nov 2012

More Tosca in San Francisco

Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment. »

10 Nov 2012

Michael Spyres: Star Ascendant

When tenor Michael Spyres takes the stage at Carnegie Hall on December 5th, he will be in heady company. »

10 Nov 2012

Ralph Vaughan Williams: The Pilgrim’s Progress

After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain. »

24 Oct 2012

Parsifal bears its own Cross

Parsifal, with its heavy dose of religiosity and strains of racial supremacy, remains at once the most mystical and historically burdened of Wagner’s operas.  »

17 Oct 2012

Albert Herring at Covent Garden

Labelled a “parable of oppression” by the late musicologist, Philip Brett, Britten’s provincial comedy, Albert Herring, is a tough nut to crack.  »

12 Oct 2012

Moby Dick in San Francisco

Forget Herman Melville, forget struggling with deep human complexities. At least those that possessed nineteenth century Americans. »

09 Oct 2012

I Capuleti e i Montecchi in San Francisco

Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley. »

27 Sep 2012

Santa Fe 2012

The venerable Santa Fe Opera served up a richly eclectic mix of high-caliber offerings that surely is one of their best festivals in recent seasons.  »

28 Aug 2012

La bohème at the Salzburg Festival

It is difficult to speak with excessive enthusiasm of the programming of a Salzburg Festival that included both Carmen and La bohème, though it would subsequently be redeemed in part by a staging of Die Soldaten.  »

20 Aug 2012

Ariadne auf Naxos, Salzburg Festspiele

When announced in November, this was trailed as the original version of Ariadne auf Naxos, a rare treat indeed.  »

15 Jul 2012

Otello, Royal Opera

Elijah Moshinsky’s Otello, first seen at Covent Garden in 1987, and revived numerous times with a range of stellar casts, may be traditional and conservative, even — excepting the thunderous opening storm scene — somewhat uninventive;  »

09 Jul 2012

Written on Skin at the Aix Festival

Not about tattoo art, not an evocation of the Holocast, and let us not even try to put our finger on what it is about. »

02 Jul 2012

Susan Graham, Wigmore Hall

Embodying a range of iconic female characters from history, literature and song — both the ‘good’ and the ‘not-so-good’ — Susan Graham delivered a wonderfully suave and entertaining performance before a delighted Wigmore Hall audience. »

27 Jun 2012

Les Troyens, Royal Opera House London

A sensational Les Troyens at the Royal Opera House, London. Berlioz, who understood theatrical gestures so well, builds his opera around the most audacious dramatic device in ancient history: the Trojan Horse.  »

15 Jun 2012

The Magic Flute in San Francisco

A feast for the eyes, a feast for the ears, a Flute from America’s heartland that goes directly to your heart. »

08 Jun 2012

Almira, operamission

There are many different ways to analyze the health of New York City. My personal measurements judge the town thus: How many aspiring artsy kids are forced to share a single apartment in an outer borough while they “find themselves” and how many small but immensely able opera companies are functional at any given time.  »

04 Jun 2012

Detlev Glanert’s Caligula, ENO

Detlev Glanert’s Caligula at the ENO shows how powerful modern opera can be. Caligula was a tyrant, but this opera isn’t sensationalist.  »

26 May 2012

Garsington Opera at Wormsley

Director David Freeman tells why this is an event worth experiencing in the Olympic year.  »

19 May 2012

Damrau Dazzles in Geneva

It is not long into Act One of Mignon at Geneva’s Grand Theatre when Diana Damrau glides on stage as Philine, commands our rapt attention, and sweeps all before her. »

26 Apr 2012

Manon, Metropolitan Opera

Massenet’s Manon succeeds in the theater when the soprano has a real sense of the role and how she wants to present it.  »

19 Apr 2012

Armide, Opera Atelier

I have to rethink my week, because somehow I have to get to see Opera Atelier’s production of Jean-Baptiste Lully’s Armide again.  »

13 Apr 2012

Lulu by Gran Teatro del Liceu, Barcelona

Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.  »

31 Mar 2012

Elmer Gantry the Opera

The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.  »

19 Mar 2012

Don Pasquale, San Diego

You can’t keep a good opera buffa down. And Gaetano Donizetti’s Don Pasquale is about as good as opera buffa gets.  »

05 Mar 2012

Zurich’s Magnificent ‘Other’ Moor

Right to the musical ‘score’ board: Zurich Opera stared down the mighty challenge posed by Rossini’s Otello ossia il moro di Venezia, and knocked it out of the ballpark. »

20 Feb 2012

Erwin Schrott’s Don Giovanni, ROH

Erwin Schrott triumphed as Don Giovanni in the Mozart/da Ponte series at the Royal Opera House, overcoming the limitations of the staging.  »

03 Feb 2012

An Aria of Lincoln Center — The Metropolitan Opera

To the dismay of New York opera fans, the original Metropolitan Opera House, located at Broadway and 39th Street, was to be torn down and replaced by a new hall a mere 30 blocks away. »

25 Jan 2012

Otello in Zürich

War and destruction is everywhere these days, not least in Pesaro where Graham Vick staged a lethal Mosé in Egitto last August, nor less so in San Francisco where baritone Thomas Hampson perished as Rick Rescorla in Heart of a Soldier last September. »