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Elsewhere

Aureliano in Palmira in Pesaro

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

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.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.


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

All Pages |  1  |  2  |  3 
18 Feb 2005

KRAMER: Opera and Modern Culture — Wagner and Strauss

"New musicology" is the cultural study, analysis and criticism of music, which proffers the belief that music has societal, religious, political, personal, and sexual agendas. Consequently, new musicology, much like the discussion of such topics at social gatherings, can be polarizing. »

05 Feb 2005

SMART: Mimomania: Music and Gesture in Nineteenth-Century Opera

Here's a serious niche book, a relatively slender volume dealing with a topic at once both arcane and surprisingly central to some of the major controversies in opera production today. I think it has major problems but it has become for me the pebble dropped into the pond that sends ripples to unexpected places, raising interesting questions in the process. »

30 Jan 2005

The Cambridge Companion to Grand Opera

Among the recent publications on opera, The Cambridge Companion to Grand Opera, edited by David Charlton, breaks new ground with its systematic and thorough exploration of grand opera, a specific part of the genre which played an important role in the musical culture of the nineteenth century. »

24 Jan 2005

LOEWENBERG: Annals of Opera, 1597-1940

This volume has long been regarded as the definitive work on the subject, and has been quoted in countless later works whenever a reference was required to the performance histories of individual operas. Taken as a whole, especially when one considers the state of library science when the book was first written, it is a magnificent piece of work, and belongs on the bookshelf of every researcher in the operatic field. »

14 Jan 2005

SCRUTON: DEATH-DEVOTED HEART — Sex and the Sacred in Wagner's Tristan and Isolde

Roger Scruton’s new book is an engrossing attempt, intensely argued throughout, to persuade the reader that Richard Wagner’s Tristan and Isolde is a religious work, not only in the vague sense that it elevates our feelings into an exalted condition that strikes the non-religious as “religious”, but in the precise sense that it incarnates, as the Eucharist incarnates the doctrine of Christianity, a doctrine that would give our meaningless lives a sufficient meaning if we were to believe and follow it. Nearly half a century ago, Joseph Kerman, in Opera as Drama, called Tristan “a religious drama” and suggested an analogy between it and Bach cantatas dealing with religious conversion and conveying religious experience. Twenty years later, Michael Tanner, a resolutely acute writer on Wagner, described Tristan and Bach’s St Matthew Passion as the two supreme examples of works “of which it is a prerequisite that one suspends disbelief . . . in the ethos which the work embodies and promulgates”. At the same time he admitted that the love unto death of Tristan and Isolde is not “a kind of living that can be rationally valued”. More recently and less cautiously, in his Wagner, he calls Tristan “the one work of Wagner’s which seems to be making an unconditional demand on our capacity to embrace a new, redeeming doctrine”. »

14 Jan 2005

MAGEE: THE TRISTAN CHORD — Wagner and Philosophy

Wagner, bloody Wagner; will we ever have done with the man? I don’t suppose that we’ll ever have done with his operas. For many of us, they are indispensable art; among the defining achievements of the Western tradition. “There is no music deeper . . . and no drama deeper either. (The Ring) is enough in itself to place Wagner alongside Shakespeare, Michelangelo and Mozart.” If you don’t think Wagner is that good, you won’t like Wagner and Philosophy, Bryan Magee’s new book about him. Whether or not he is that good, there is surely a problem that arises insistently about Wagner but not Michelangelo or Mozart or, least of all, about Shakespeare: that of getting the art clear of the artist. Shakespeare is notorious for disappearing from his plays, but Wagner is everywhere in his operas. You just can’t think about them and not think about him; nor would he conceivably have wished you to. »

04 Jan 2005

The Cambridge Companion to Rossini

The title of this book, "The Cambridge Companion to Rossini" probably means different things to different people. »

12 Dec 2004

OSBORNE: The Opera Lover's Companion

Every CD collector faces the day (or days, in the case of the truly dedicated collector) when denial no longer suffices — the shelves are sagging and overflowing, and the time has come to purchase yet another storage unit. Perhaps others have done what I did once to forestall that day — I removed all the booklets from my opera sets (and cover boxes as well, of course) and stored them on that increasingly archaic furniture item, a bookshelf. »

01 Dec 2004

WARRACK: German Opera — From the Beginnings to Wagner

Writing a history of an important and complex operatic repertory spanning three dynamic centuries is a daunting task, one that is perhaps better suited to several specialists than a single author. While an individual rarely possesses the scholarly breadth to write with expertise and authority on so much music, he or she can impart a unifying perspective and a consistent set of goals. But this advantage can also prove to be a limitation. »

29 Nov 2004

Another View of The Inner Voice

Fleming gives what young singers need By Sarah Bryan Miller Post-Dispatch Classical Music Critic Sunday, Nov. 28 2004 "The Inner Voice: The Making of a Singer" By Renee Fleming Published by Viking; 222 pages; $24.95 This is the book I... »

25 Nov 2004

Review of Renée Fleming's Memoir

THE INNER VOICE: The Making of a Singer Renée Fleming Viking Memoir ISBN: 0670033510 Renee Fleming evidently started out determined to write a different sort of opera singer's memoir. She calls her book "the autobiography of my voice" and tries... »

04 Nov 2004

RICE: Empress Marie Therese and Music at the Viennese Court, 1792-1807

John A. Rice's detailed account of the musical life of the Empress Marie Therese portrays a flourishing world of imperial patronage in its final years. The second wife of Emperor Franz II and namesake of her more famous grandmother Empress Maria Theresa, Marie Therese lived just long enough to see the collapse of the Empire before Napoleon's troops. »

07 Oct 2004

FIEDLER: Molto Agitato

I well remember my first performance at the Met. It was a not very distinguished La Bohème with Malfitano and Lima, Domingo conducting, in the winter of 1985. But at last I had made it to the Met. This was the company of Caruso, Gigli, Ponselle, Tibbett and Melchior. This was the house where Corelli and Price had given of their best. So in a sense this is my house too, because the Met is too big, too important to belong to the New Yorkers alone, witness the overwhelming majority of the subscribers to Opera News (circulation around 120,000) who are living elsewhere, a lot of them people in Europe like myself. Therefore anything concerning the Met concerns all opera lovers. »