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Elsewhere

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion.

Two falls out of three for Britten in Seattle Screw

The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind. What evil lurks here? Can these people be saved? Do we care?

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)

Tosca in San Francisco

The story was bigger than its actors, the Tosca ritual was ignored. It wasn’t a Tosca for the ages though maybe it was (San Francisco’s previous Tosca production hung around for 95 years). P.S. It was an evening of powerful theater, and incidentally it was really good opera.

Fine performances in uneven War Requiem at the Concertgebouw

At the very least, that vehement, pacifist indictment against militarism, Benjamin Britten’s War Requiem, should leave the audience shaking a little. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

The Tallis Scholars at Cadogan Hall

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. There was little to ruffle anyone’s feathers here, little in the way of overt ‘interpretation’ – certainly in a modern sense – but ample opportunity to appreciate the mastery on offer in this music, its remoteness from many of our present concerns, and some fine singing.

Dido and Aeneas: Academy of Ancient Music

“Remember me, but ah! forget my fate.” Well, the spectral Queen of Carthage atop the poppy-strewn sarcophagus wasn’t quite yet “laid in earth”, but the act of remembering, and remembrance, duly began during the first part of this final instalment of the Academy of Ancient Music’s Purcell trilogy at the Barbican Hall.

Poignantly human – Die Zauberflöte, La Monnaie

Mozart Die Zauberflöte (The Magic Flute) at La Monnaie /De Munt, Brussels, conducted by Antonello Manacorda, directed by Romeo Castellucci. Part allegory, part Singspeile, and very much a morality play, Die Zauberflöte is not conventional opera in the late 19th century style. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean.

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Powerful Monodramas: Zender, Manoury and Schoenberg

The concept of the monologue in opera has existed since the birth of opera itself, but when we come to monodramas - with the exception of Rousseau’s Pygmalion (1762) - we are looking at something that originated at the beginning of the twentieth century.

ENO's Salome both intrigues and bewilders

Femme fatale, femme nouvelle, she-devil: the personification of patriarchal castration-anxiety and misogynistic terror of female desire.

In the Company of Heaven: The Cardinall's Musick at Wigmore Hall

Palestrina led from the front, literally and figuratively, in this performance at Wigmore Hall which placed devotion to the saints at its heart, with Saints Peter, Paul, Catherine of Alexandria, Bartholomew and the Virgin Mary all musically honoured by The Cardinall’s Musick and their director Andrew Carwood.

Roberto Devereux in San Francisco

Opera’s triple crown, Donizetti’s tragic queens — Anna Bolena who was beheaded by her husband Henry VIII, their daughter Elizabeth I who beheaded her rival Mary, Queen of Scots and who executed her lover Roberto Devereux.

O18: Queens Tries Royally Hard

Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.

O18 Magical Mystery Tour: Glass Handel

How to begin to quantify the wonderment stirred in my soul by Opera Philadelphia’s sensational achievement that is Glass Handel?

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

A lunchtime feast of English song: Lucy Crowe and Joseph Middleton at Wigmore Hall

The September sunshine that warmed Wigmore Street during Monday’s lunch-hour created the perfect ambience for this thoughtfully compiled programme of seventeenth- and twentieth-century English song presented by soprano Lucy Crowe and pianist Joseph Middleton at Wigmore Hall.

O18: Mad About Lucia

Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

O18 Poulenc Evening: Moins C’est Plus

In Opera Philadelphia’s re-imagined La voix humaine, diva Patricia Racette had a tough “act” to follow ...


OPERA TODAY ARCHIVES »

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18 Oct 2018

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion. »

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01 Nov 2014

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside. »

06 Oct 2014

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.  »

15 Sep 2014

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.  »

15 Sep 2014

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.  »

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.  »

03 Aug 2014

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.  »

10 Jul 2014

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.  »

02 Jul 2014

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’  »

30 Jun 2014

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.  »

18 Jun 2014

The Pearl Fishers, ENO

Writing in a programme article to accompany this first revival of her 2010 production of Bizet’s The Pearl Fishers, director Penny Woolcock remarks upon the opera’s ‘plethora of beautiful arias, duets, choral and orchestral music … and catchy tunes that spawn earworms’.  »

09 Jun 2014

Bernarda Fink Sings Mahler Lieder

Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.  »

29 May 2014

Dmitri Hvorostovsky in Los Angeles

Siberian born baritone, Dmitri Hvorostovsky returned to Dorothy Chandler Hall on May 22nd with a unique all Russian song recital which included songs composed to Pushkin’s poetry and Dmitri Shostakovich’s Suite on Verses of Michelangelo Buonarroti. »

22 May 2014

LA Opera: The Monk vs. The Courtesan

As Athanaël, Placido Domingo created a realistic monk who was ostensibly tempted to disregard his vows. The audience knew that had the courtesan Thaïs lived longer, he would have thrown his immortal soul into the wind. »

19 May 2014

Verdi’s Macbeth of the Living Dead

If it is supposed to bring bad luck to even whisper the name of the “Scottish Play” out loud, someone must have screamed Macbeth deafeningly before the performance at Saarbrücken’s State Opera House. »

13 May 2014

Barbiere Comes to Sin City

Professional opera returns to the Las Vegas Valley June 6th and 8th with performances of one of the best-known comic operas of all time, Gioachino Rossini's Il Barbiere di Siviglia. »

30 Apr 2014

Les Mamelles de Tirésias in San Francisco

Poulenc’s racy little 1947 confection took stage within Kurt Weill’s peculiar little 1927 singspiel Mahagonny all framed within the current California drought and doomsday predictions of impending global aridity.  »

26 Apr 2014

A Coffin in Egypt: A Tour-de-Force for von Stade

Librettist Leonard Foglia based his elegant and literate text on the late Horton Foote’s play, A Coffin in Egypt, and the opera has the original play’s dramatic punch.  »

08 Apr 2014

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.  »

30 Mar 2014

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......  »

13 Mar 2014

Jean-Paul Scarpitta in Montpellier

I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy. »

02 Mar 2014

LA Opera Presents a Parable of Good and Evil

Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.  »

24 Feb 2014

Turandot, Royal Opera

This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.  »

11 Feb 2014

Lucia di Lammermoor in Marseille

A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto. »

06 Feb 2014

Don Giovanni, Royal Opera

Kasper Holten’s new production of Don Giovanni at the Royal Opera House risks laying the house’s Director of Opera open to charges of antiquated mores and misogyny: for he seems to suggest that the women are just as bad, if not worse, than their seducer — and that a soulful man who seeks genuine love is likely to find his ‘ideal beloved’ forever out of reach. »

25 Jan 2014

Francesco Bartolomeo Conti: L’Issipile

Francesco Bartolomeo Conti (1681-1732) isn’t a name that trips off opera-goers’ tongues; similarly neglected is Conti’s last opera L’Issipile, despite the fact that composer (who was also a theorbo player at the Viennese Imperial Court) was the first of several opera composers to set Metastasio’s libretto.  »

22 Jan 2014

Gerald Finley: Winterreise

Tenor or baritone? Everyone will have their own individual preference about the voice type best suited to Schubert’s Winterreise — and about the manner in which the songs should be performed (narrated, or acted?).  »

17 Jan 2014

The Sixteen: Jephtha

Harry Christophers and The Sixteen brought Handel's final oratorio, Jephtha, to the Barbican (14 January 2014) preparatory to recording the work.  »

08 Jan 2014

Otello in Genoa

Forget Shakespeare, this was distinctly an Otello without the ‘h’. It was Italian melodramma to its core, the collaboration of its metteur en scène Davide Livermore, wunderkind conductor Andrea Battistoni and its Desdemona, Maria Agresto. »

07 Jan 2014

Les Contes d'Hoffmann in Lyon

Maybe there can be no bigger feat than making it through Les Contes d’Hoffmann in the Laurent Pelly version without a hitch or two. »

17 Dec 2013

Offenbach’s Fantasio from Opera Rara

Premiered in Paris in 1872, Jacques Offenbach’s Fantasio received just ten performances before the opera was withdrawn and its composer found himself on the receiving end of bitter attacks and criticism.  »

02 Dec 2013

Fat Knight in Los Angeles

In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word. »

29 Nov 2013

Early Opera Company: Acis and Galatea

Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.  »

22 Nov 2013

Porgy and Bess in San Francisco

It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”  »

05 Nov 2013

“T” as in “Terrific Toronto”

With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season. »

31 Oct 2013

Wexford Festival 2013

At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.  »

23 Oct 2013

London’s Vespers Ring the Right Bells

Even before it opened, Royal Opera’s Les vêpres siciliennes was the must-see production of the season. »

20 Oct 2013

Das Liebesverbot, Vienna 1962

Das Liebesverbot: Grosse komische Oper in two acts. »

10 Oct 2013

Eugene Onegin disappoints

The company’s new production of the Tchaikovsky masterpiece is cramped and cheap, leaving the listener longing for a return of the 1997 version »

09 Oct 2013

Falstaff in San Francisco

A rambunctious ensemble on the stage and in the pit. A star conductor. Falstaff showed its stuff as one of the repertory’s greatest masterpieces.  »

07 Oct 2013

Giasone, ETO

Once again, one can only applaud English Touring Opera’s sense of adventure — and commitment. Its autumn season comprises three Venetian operas: L’incoronazione di Poppea, Giasone, and Agrippina, all in translation.  »

29 Sep 2013

Die Schuldigkeit Des Ersten Gebots

Last week I enjoyed the opportunity to see Bampton Classical Opera’s light-hearted, witty production of Mozart’s earliest opera — La finta semplice — a work which, despite lacking the melodic variety and texture dynamism of the later operas, is still a remarkably accomplished achievement for a boy of merely twelve years of age.  »

22 Sep 2013

Dolores Claiborne in San Francisco

Dolores Claiborne, the heroine of the book Dolores Claiborne (1992), is a figment of the imagination of prolific pulp horror novelist Stephen King.  »

09 Sep 2013

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.   »

30 Aug 2013

Patricia Racette on Dolores Claiborne

On a personal level, I feel that Dolores is almost like Emmeline grown up. Their circumstances are not exactly parallel, but they are both women at very different points in their lives whose stories involve dilemmas with life-changing outcomes.  »

27 Aug 2013

Magdalena Kožená: Love and Longing

Recorded at a live performance in 2012, this CD brings together an eclectic selection of turn-of-the-century orchestral songs and affirms the extraordinary versatility, musicianship and technical accomplishment of mezzo-soprano Magdalena Kožená.  »

19 Aug 2013

Grand Duchess of Gerolstein at Santa Fe

On Wednesday August 7, Santa Fe Opera presented an energetic, fun-loving production of Jacques Offenbach, Henri Meilhac and Ludovic Halévy's The Grand Duchess of Gerolstein.  »

13 Aug 2013

Un ballo in maschera at Orange

A massive antique Roman theater where stadium opera is always grand opera and often good opera as well. »

08 Aug 2013

A Very Real Traviata

Conductor Leo Hussein, like many of the artists in the production, was making his debut. His take on the story was immediately ascertainable when he played parts of the overture with an earthy tone. This was Violetta’s world, where otherwise refined men wined, dined, and cavorted with the most expensive Parisian courtesans.  »