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Elsewhere

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

On The Death of Klinghoffer

This is a revised version of my review of the Sept 5th 1991American premiere of The Death of Klinghoffer, at the Brooklyn Academy of Music. The opera was first performed at Brussels’ La Monnaie the previous spring.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

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.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.


OPERA TODAY ARCHIVES »

Books

Paul Rodmell: Opera in the British Isles, 1875 – 1918
07 Feb 2014

Book Review: Opera in the British Isles, 1875 – 1918

Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera. »

Recently in Books

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31 Aug 2005

The Cambridge Companion to Elgar

Perhaps some Opera Today readers may wonder why a book on Sir Edward Elgar merits reviewing on this particular site. The composer never came near to completing an opera. In fact, only toward the end of his career did he... »

23 Aug 2005

THOMAS: Polish Music since Szymanowski

Throughout the history of Poland, music has been an enduring force in its culture, and Polish composers were at the forefront of a number of developments in the twentieth century. »

07 Aug 2005

The Cambridge Companion to Stravinsky

The Cambridge Companion to Stravinsky joins more than a dozen similar volumes published by the Cambridge University Press over the years and devoted to the life and works of a single composer. Each one traditionally is a collection of essays by leading scholars in the field, organized into three main sections — biography; works (mostly by genre); reception and posthumous legacy. »

16 Jul 2005

The Cambridge Companion to Mendelssohn

The Cambridge companion series provides one of the more scholarly and intensely interesting examinations of musical composers currently available. This is because of its in-depth and multifaceted contributions to each volume, by a variety of musicologists and musicians, as well as overall management of each volume by a well-established and known scholar in the field. The Mendelssohn volume is no exception in this area. It is a collection of fourteen essays that examine the life and work of the nineteenth-century Romantic composer Felix Mendelssohn. It is divided into four major sections: Issues in Biography, Situating the Compositions, Profiles of the Music, and Reception and Performance. »

15 Jul 2005

HELLER: Emblems of Eloquence — Opera and Women’s Voices in Seventeenth-Century Venice

In her awesome Emblems of Eloquence, Wendy Heller tirelessly investigates treatises, myths, libretti and letters to illuminate the natures of “real” and “imagined” women who reigned over seventeenth-century opera as subjects of musical portraiture. From Dido to Semiramide, Poppea to Calisto, Heller argues that women and women’s issues dominated the Venetian stage. Librettists struggled with issues of women’s sexuality, dominance, suppression of desire, overt desire, covert desire, homoeroticism and misogyny. And all at the time when, “Venice’s absolute exclusion of women in public life was written into the organization of the Republic.” This apparent contradiction is at the heart of her eminently readable text that displays Heller as a musicological Simon Schama. »

09 Jul 2005

FELSENFELD: Benjamin Britten and Samuel Barber: Their Lives and Their Music

The second in a series called Parallel Lives, this book consists of a series of essays by one author. The same Daniel Felsenfeld also authored the first in the series, which set Charles Ives and Aaron Copland side by side. By comparison to that juxtaposition only, Britten and Barber make an intriguing and appropriate pair for analysis. Felsenfeld's book, however, is slim yet repetitive, and far from stylishly written. The inclusion of a CD of selections from Naxos recordings of both composers may, however, make the volume of interest to some readers. »

06 Jul 2005

HURWITZ: Getting the Most Out of Mozart: The Vocal Works

The investment of money, not to mention time, to listen carefully to a complete opera can be intimidating for some uninitiated listeners. After all, operas can be quite long and — with all that strange singing in a foreign language — could be incomprehensible, and therefore less than enjoyable. Opera still carries the cachet in our culture of being the pastime of the wealthy, the educated, and the elite. References to opera in popular culture, such as ads or music videos, signify a different world of privilege and exclusion. »

04 Jul 2005

THOMAS: Aesthetics of Opera in the Ancien Régime, 1647-1785

Contrary to what one might expect from its title, Downing A. Thomas' book on Aesthetics of Opera in the Ancien Régime is not a comprehensive historical treatment of the subject. Instead, the chapters — which seem to have been drawn from separate articles or other studies — cover a wide range of topics, but are successfully drawn together through a view of aesthetics from a pre-nineteenth-century vantage point; according to Thomas, discussions of aesthetics from the time of the ancien régime "rose out of the many developments in medicine and philosophy ... in relation to questions of sensibility, sympathy, and taste" (p. 323). Cultural and aesthetic issues of the day centered on "the experience of passion, of intersubjective feeling, and of pleasure" (p. 323). Thomas' work rests on extensive studies of philosophical and theoretical writings from the seventeenth and eighteenth centuries, but it also shows a broad knowledge of present-day analytical approaches and musical and cultural studies. Thomas uses this broad range of sources to argue for the importance of opera as an influence on — and a reflection of — French culture and thought during the ancien régime. The author identifies two basic assumptions that lie behind the varied studies in the book: "First, ... individual operas not only display traces of the aesthetic and ideological circumstances of their creation, but ... they also engage productively in those circumstances. Second, ... opera came to serve as a touchstone in the eighteenth century for understanding the mechanisms behind human feeling and for reflecting upon how emotion impacts social relations." »

11 Jun 2005

MORRIS: Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg

Interludes in opera articulate moments when the lush voices of singers and vivid spectacle of scenery and action are removed and often the curtain is drawn, and thus they span a functional gap between textless instrumental music and explicit theatrical vehicle. Although composers and analysts suggest rich and multivalent meanings for the music, those implications often escape decoding by audiences. Even the interlude titles — Zwischenspiel, entr'acte, intermezzo — suggest their intermission-like nature. As functional placeholders for scene changes and the like, the interludes are for many a cue to relax attentive listening, read synopses, and whisper with companions. Undaunted by such complexities, Morris takes up the problematic nature of operatic interludes, engaging their ambiguities with eyes wide open in an effort to enrich our understanding of these challenging bits of music. »

21 May 2005

GOEHRING: Three modes of perception in Mozart — the philosophical, pastoral, and comic in Così fan tutte

According to the book jacket, this is the first major scholarly study of Così fan tutte, considered to be one of Mozart's least-understood operas and librettist Lorenzo Da Ponte's most interesting text.  »

20 May 2005

TRIBO: Annals 1847-1897 del Gran Teatre del Liceu

The importance of the Teatre del Liceu, can not be overstated. The house ranks with all the leading theatres of the world, being right up there with Paris, London, New York, Vienna, Madrid, Rome, Milan, Lisbon, St. Petersburg, Moscow, Turin, Naples, Buenos Aires, and other cities of comparable importance. During its long history (158 years at the time of writing) it featured many of the great singers. These include Caruso, Battistini, Tamagno, Ruffo, Caballe, Tebaldi, Mario, Pavarotti, Vignas, Lazaro, O'Sullivan, Stracciari, Pagliughi, Gayarre, Masini, Stagno, Lauri-Volpi, Bellincioni, and countless others. Quite a few of these who sang there before 1897 are represented on the accompanying disc. »

20 May 2005

MAY: Decoding Wagner — An Invitation to His World of Music Drama

Thomas May's stated goal in Decoding Wagner is indeed summarized in his subtitle, An Invitation to His Music Dramas. Mr. May offers an introduction to those who may seek a reliable yet succinct guide in their first Wagnerian experience; a further potential readership is seen among those who have attended performances of Wagner but who wish to expand their appreciation of the music dramas. In his chronological overview of Wagner's oeuvre from the mid-1830s until the close of his career May presents an approachable guide to appreciating the composer's operatic genius. As an illustration of May's commentary on the works, a generous selection of Wagner's music is included on two Discs that accompany the volume in a protective sleeve. »

19 Apr 2005

The Cambridge Companion to the Lied

Books described as a "Companion" to this or that and published by university presses should be required to come with a Reader Beware label. As is the case with many books put out by university and many for-profit publishers, the main reason for publishing these is to advance the tenure and promotion prospects of the authors. This is not a bad thing, except that all too often the books aren't very good. »

15 Apr 2005

DUNSBY: Making Words Sing: Nineteenth- and Twentieth-Century Song

In Making Words Sing, Jonathan Dunsby investigates what he calls the "vocality" of song, that is, the "quality of having voice," as the author states in the introduction to his study. By using this perspective, Dunsby focuses on the intensification of the text that occurs when words are set to music, which stands in opposition to the kind of "songfulness" that Lawrence Kramer discussed in Musical Meaning: Toward a Critical History (Berkeley, CA: University of California Press, 2002). »

13 Apr 2005

RANDALL & DAVIS: Puccini & the Girl

"Puccini & the Girl" is a rare and engrossing work of scholarship that can be enjoyed on several levels. For the Puccini-lover, to say nothing of one who has a special interest in La Fanciulla del West, it will provide a wealth of information not previously available, particularly all in one place. Any one interested in the creative process will find it exposed and examined clearly. The scholar will recognize the fascinating chance discovery, the thrill of the chase and the deep rewards of work undertaken lovingly and with rigorous care by the dedicated and passionate co-authors. »

06 Apr 2005

HANSEN: The Sibyl Sanderson Story — Requiem for a Diva

Jack Winsor Hansen's 520-page biography of Sibyl Sanderson (1865 - 1903) is packed with romanticism and gossip that will delight and titillate true worshipers of operatic divas and inquisitive opera fans. It also fills a gap in the music-historical writings about opera at the end of the 19th century. »

02 Apr 2005

The Cambridge Companion to John Cage

Cage's music is like Einstein's theorem: most people know it exists, know it's important, but beyond these facts know nothing about it (count me in this category when it comes to Einstein). »

28 Mar 2005

WEAVER & PUCCINI: The Puccini Companion

If any opera lover feels daunted by the many biographies and analytical tomes dedicated to the life and art of Giacomo Puccini, Norton has done that reader a tremendous favor with the publication of The Puccini Companion. Tightly organized, this series of essays details the life, discusses the operas, and provides a wealth of supplementary information about the composer. »

07 Mar 2005

EVERETT: The Musical — A Research and Information Guide

Much current popular culture assumes that its audience is knowledgeable of the American musical. References to, and parodies of, specific musicals are frequently a part of episodes of The Simpsons and South Park, and ads for companies as diverse as The Gap and the World Wrestling Entertainment promotion recently have restaged numbers from West Side Story to plug their products or events. Rarely, if ever, are the sources acknowledged; it is simply taken for granted that a general audience will understand the quotations and parodies. »

02 Mar 2005

TOMMASINI: The New York Times Essential Library: Opera — A Critic’s Guide to the 100 Most Important Works and the Best Recordings

"I particularly want to reach newcomers" writes Anthony Tommasini, Times chief classical music critic, in his preface. I do not think they will be helped very much by this book. A rookie who picks it up and reads the subtitle may expect something more than two operas by Bellini, two by Donizetti, one Gounod (not Faust), one Massenet (not Manon) and no Lohengrin. »