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Elsewhere

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.

Pow! Zap! Zowie! Wowie! -or- Arthur, King of Long Beach

If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.

Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

How do you like your Schubert? Let me count the ways …

Crebassa and Say: Impressionism and Power at Wigmore Hall

On paper this seemed a fascinating recital, but as I was traveling to the Wigmore Hall it occurred to me this might be a clash of two great artists. Both Marianne Crebassa and Fazil Say can be mercurial performers and both can bring such unique creativity to what they do one thought they might simply diverge. In the event, what happened was quite remarkable.

'Songs of Longing and Exile': Stile Antico at LSO St Luke's

Baroque at the Edge describes itself as the ‘no rules’ Baroque festival. It invites ‘leading musicians from all backgrounds to take the music of the Baroque and see where it leads them’.

Richard Jones' La bohème returns to Covent Garden

Richard Jones' production of Puccini's La bohème is back at the Royal Opera House, Covent Garden after its debut in 2017/18. The opening night, 10th January 2020, featured the first of two casts though soprano Sonya Yoncheva, who was due to sing Mimì, had to drop out owing to illness, and was replaced at short notice by Simona Mihai who had sung the role in the original run and is due to sing Musetta later in this run.

Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato

“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.

Vaughan Williams Symphonies 3 & 4 from Hyperion

Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.

Don Giovanni at Lyric Opera of Chicago

Mozart’s Don Giovanni returned to Lyric Opera of Chicago in the Robert Falls updating of the opera to the 1930s. The universality of Mozart’s score proves its adaptability to manifold settings, and this production featured several outstanding, individual performances.

Britten and Dowland: lutes, losses and laments at Wigmore Hall

'Of chord and cassiawood is the lute compounded;/ Within it lie ancient melodies'.

Tara Erraught sings Loewe, Mahler and Hamilton Harty at Wigmore Hall

During those ‘in-between’ days following Christmas and before New Year, the capital’s cultural institutions continue to offer fare both festive and more formal.

Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig

This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.

Retrospect Opera's new recording of Ethel Smyth's Fête Galante

Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.

A compelling new recording of Bruckner's early Requiem

The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.

Prayer of the Heart: Gesualdo Six and the Brodsky Quartet

Robust carol-singing, reindeer-related muzak tinkling through department stores, and light-hearted festive-fare offered by the nation’s choral societies may dominate the musical agenda during the month of December, but at Kings Place on Friday evening Gesualdo Six and the Brodsky Quartet eschewed babes-in-mangers and ding-donging carillons for an altogether more sedate and spiritual ninety minutes of reflection and ‘musical prayer’.

The New Season at the New National Theatre, Tokyo

Professional opera in Japan is roughly a century old. When the Italian director and choreographer Giovanni Vittorio Rosi (1867-1940) mounted a production of Cavalleria Rusticana in Italian in Tokyo in 1917, with Japanese singers, he brought a period of timid experimentation and occasional student performances to an end.

Handel's Messiah at the Royal Albert Hall

For those of us who live in a metropolitan bubble, where performances of Handel's Messiah by small professional ensembles are common, it is easy to forget that for many people, Handel's masterpiece remains a large-scale choral work. My own experiences of Messiah include singing the work in a choir of 150 at the Royal Albert Hall, and the venue's tradition of performing the work annually dates back to the 19th century.

What to Make of Tosca at La Scala

La Scala’s season opened last week with Tosca. This was perhaps the preeminent event in Italian cultural and social life: paparazzi swarmed politicians, industrialists, celebrities and personalities, while almost three million Italians watched a live broadcast on RAI 1. Milan was still buzzing nine days later, when I attended the third performance of the run.

La traviata at Covent Garden: Bassenz’s triumphant Violetta in Eyre’s timeless production

There is a very good reason why Covent Garden has stuck with Richard Eyre’s 25-year old production of La traviata. Like Zeffirelli’s Tosca, it comes across as timeless whilst being precisely of its time; a quarter of a century has hardly faded its allure, nor dented its narrative clarity. All it really needs is a Violetta to sweep us off our feet, and that we got with Hrachuhi Bassenz.

Emmerich Kálmán: Ein Herbstmanöver

Brilliant Emmerich Kálmán’s Ein Herbstmanöver from the Stadttheater, Giessen in 2018, conducted by Michael Hofstetter now on Oehms Classics, in a performing version by Balázs Kovalik.


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Reviews

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17 Jan 2020

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon. »

Recently in Reviews

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01 May 2005

Figaro at the Beach

Monteverdi’s “Orfeo” set in a chic apartment on Manhattan’s Upper East Side, Mozart’s “Cosi fan tutte’’ played out in a trendy club complete with burly, stone-faced doormen and a sleek VIP room. Chicago Opera Theater has had some smashing successes with stage director Diane Paulus’ contemporary take on centuries-old operas. She is back this spring, teamed once again with conductor Jane ver, her colleague on four previous COT productions, for a fresh look at another Mozart opera, the bittersweet “The Marriage of Figaro.’’ A “Figaro’’ set in Miami’s South Beach, anyone? »

29 Apr 2005

Suor Angelica and Pagliacci at Liège

Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I’d love to hear Angelica’s second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent ( nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly. »

29 Apr 2005

Giovanna d’Arco at Antwerp

The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81 year old Silvio Varviso spoke briefly but forcefully and asked for the spectators’ support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpasses) Pappano’s former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera. »

29 Apr 2005

The Bartered Bride at Julliard

In the dark before the lights came up, the stage looked like a set for “Oklahoma!,” down to the dozing cowpoke. The rising lights revealed the object that had looked like a windmill to be a maypole and the setting to be Czech, yet the “Oklahoma!” resemblance didn’t altogether fade. Bedrich Smetana’s opera “The Bartered Bride” has a whiff of an American musical to its simple sweet story (boy loves girl, boy figures out how to get together with girl) and pretty tunes, and the Juilliard Opera Center’s production, which opened on Wednesday, brought out the similarities. »

29 Apr 2005

Upshaw in Downtown Philadelphia and Carnegie Hall

A few seconds into Dawn Upshaw’s singing, you decide that the most important thing is purity of tone – honest, solid, unadorned tone – and Upshaw has it in spades. »

29 Apr 2005

Bo Skovhus at Wigmore Hall

We don’t hear Bo Skovhus in the UK as much as we should. One of today’s great singers, the handsome Danish baritone is both a star and something of a sex symbol on the European mainland, although his work has been inexplicably undervalued by British opera companies and concert managements. »

28 Apr 2005

Tales of Hoffmann at Baltimore

Looking for an escape—from reality? The Baltimore Opera Company has just the ticket. Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) is not called an “opera fantastique” for nothing. »

28 Apr 2005

HANDEL: Rodelinda

There was a time, not so long ago, when Handel was a rare bird on the video shelves of opera shops and record retailers, but it seems that with the advent of the slim ‘n sexy DVD disc, and (in Europe at least) a more flexible attitude to rights issues between record companies and opera houses, that those days are now, happily, past. The latest offering from Farao Classics is the 3 year old Munich Staatsoper production of his “Rodelinda” with staging by David Alden, music direction by Ivor Bolton, first given at their Festival in 2003. I’m not entirely sure why certain operas get chosen for DVD release and others don’t, and this one is a bit of a puzzle for several reasons. »

28 Apr 2005

LARSEN: love lies bleeding — Songs by Libby Larsen.

This CD, entitled "Love Lies Bleeding," is a companion to the fascinating recording by the same soprano and pianist, entitled "With All My Soul" (The Orchard 6003). »

28 Apr 2005

Hansel and Gretel at Inverness

WHAT was that about working with children? Halfway through Humperdinck’s fairytale opera a gang of local kids troops onstage dressed in sheets — angels, see — and hangs around for a bit before sloping off again: the naffest piece of staging I’ve collected in a while, and indicative of some confusion about the purpose of Scottish Opera’s mid-scale touring arm. »

28 Apr 2005

Boris Godounov at the Bastille

L’Opéra de Paris redonne à partir d’aujourd’hui, à Bastille, le Boris Godounov créé en octobre 2002 sous la baguette de James Conlon et dans la mise en scène de Francesca Zambello. C’est Jiri Kout qui devait assurer la direction musicale de ces nouvelles représentations. Empêché pour des raisons de santé, il sera remplacé par Alexander Vedernikov, directeur musical et chef principal du Théâtre Bolchoï qui assurera les sept premiers concerts, laissant à Alexander Titov, chef invité du Théâtre Marinski depuis 1991, le soin de prendre le pupitre pour les deux derniers. Une façon de recréer à Paris la rivalité artistique qui oppose Moscou à Saint-Pétersbourg. »

28 Apr 2005

Faust at the Met — Another View

In opera, embarrassment comes with the territory. Sooner or later, if you’re a fine and dignified singer, you will find yourself trapped onstage in a situation or a costume so stupid that the voice of God couldn’t save the scene. For René Pape, who has the body and bearing of a Hussar and who is probably the world’s best basso, the moment came in Act IV of the Metropolitan Opera’s new production of “Faust,” the scene in which the illegitimately pregnant Marguerite enters a church to repent and finds a taunting Mephistopheles. »

28 Apr 2005

Zemlinsky's The Dwarf in Budapest

IMAGINE you’ve got a birthday coming up. What would you like this year? How about a dwarf? I didn’t think so. Well, how about a dwarf who doesn’t know how ugly and misshapen he is, and in fact thinks he’s attractive and loveable? »

26 Apr 2005

Alexandrina Milcheva Opens the 9th Easter Festival at the Sofia National Opera

On April 23, the 70-year old Bulgarian mezzo, Alexandrina Milcheva, gave a recital of a full value program at the Sofia opera, including airs from: “Orpheus” (Gluck), “Dido and Eneas”(Purcell), “Faust” (Gounod), “Il Trovatore”, “Werther”(Massenet), “Adrienne Lecouvreur”(Cilea)and “Carmen.” »

26 Apr 2005

GLUCK: Orphee et Euridice

Christoph Willibald Gluck's (1714-1787) Orfeo ed Euridice is an opera that began a major reform of Italian opera and the way it was composed and performed in the eighteenth century. »

26 Apr 2005

Kilar's Missa pro Pace at Alice Tully Hall

Amid the annual parade of world-class orchestras passing through New York, a visit by the Wroclaw Philharmonic of Poland could easily have been overlooked – and to some extent it was, in a sparsely attended concert at Alice Tully Hall on Sunday afternoon. But on Saturday evening, partly through an accident of timing, the orchestra played to a nearly full house in St. Patrick’s Cathedral. »

26 Apr 2005

Boulevard Solitude at Graz

In the middle of 2006, when you’d rather scream than hear another note of Mozart, take heed of a less-heralded musical birthday: Hans Werner Henze will turn 80. »

25 Apr 2005

Michelle DeYoung Steps In

In the wake of soprano Helene Hunt Lieberson cancellation of a Friday appearance at the University of Chicago’s Mandel Hall, management was fortunate to land Michelle DeYoung, one of the finest in a strong contingent of young American mezzos. »

25 Apr 2005

BRITTEN: The Turn of the Screw

Britten biographer Humphrey Carpenter quotes a friend of the composer’s as calling Miles “a male Lolita.” For all the blather, if not bother, about innocence in The Turn of the Screw, I’ve never felt there was much of it present among the inhabitants of Bly. There’s sure a nasty case of naiveté going around among the grown-ups though. »

24 Apr 2005

BIZET: Les Pêcheurs de Perles

Les Pêcheurs de Perles is not a terribly major opera. Ned Rorem once memorably described it as “harmless” concerning the occasion on which it shared a double bill with the world premiere of Poulenc’s Les Mammeles De Tiresias. But for a competent early work by a promising composer who went on to greater things (well, one greater thing, given his tragically early death), Pecheurs has been given an enormous amount of attention both on stage and in the recording studio. An attractive work of conventional Second Empire French oriental exotica, it’s blessed to contain two beloved numbers that have won the hearts of opera lovers whose loyalty keeps it before the public with some frequency. »

24 Apr 2005

Miliza Korjus sings Mozart, Donzetti, Delibes, Meyerbeer, Offenbach, Gounod, ...

Miliza Korjus (1912-1980), the “Queen of Pyrotechnics”, sings with a crystalline precision, reminiscent of Joan Sutherland, and a purity of voice akin to Natalie Dessay. During the height of her operatic career, 1933-1936, Korjus had the flexibility, dynamic vocal range, and brightness to become the quintessential lyric coloratura. Hänssler Classic brings her voice back to life by remastering the very Electrola recordings that made her singing “immortal.” »

24 Apr 2005

“Fly, Thought, on Golden Wings” — Verdi’s Life told by Thomas Hampson

With a running time of 60 minutes, this DVD biographic feature on Verdi’s life might possibly be a satisfactory introductory piece for the newcomer to the great man and his art. Even then, the knowledge gained would barely form an outline to be filled in by much more study. However, if one would like a pretty travelogue of the sights and landscapes of Verdi’s Italian roots (with a side trip to Paris), plus a little time joining Thomas Hampson in admiring his own handsome self, Euroarts has a treat in store. »