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Elsewhere

Bampton Classical Opera: Bride & Gloom at St John's Smith Square

Last week the Office of National Statistics published figures showing that in the UK the number of women getting married has fallen below 50%.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

La traviata at the Palais Garnier

The clatter of information was overwhelmed by soaring bel canto, Verdi’s domestic tragedy destroyed by director Simon Stone, resurrected by conductor Michele Mariotti, a tour de force for South African soprano Pretty Yende.

San Jose Pops the Cork With Fledermaus

Opera San Jose vivaciously kicked off its 2019–2020 season with a heady version of Strauss’ immortal Die Fledermaus that had all the effervescence of vintage champagne.

Tempestuous Francesca da Rimini opens Concertgebouw Saturday matinee series

Two Russian love letters to the tragic thirteenth century noblewoman Francesca da Rimini inaugurated the Saturday matinee series at the Concertgebouw.

Erich Wolfgang Korngold: Die Tote Stadt

Die Tote Stadt, an opera in three acts.

Music composed by Erich Wolfgang Korngold (1897-1957). Libretto by Paul Schott (Julius and E. W. Korngold) after the novel Bruges la morte by Georges Rodenbach.

Immortal Beloved: Beethoven Festival at Wigmore Hall

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

Stars of Lyric Opera at Millennium Park 2019

Lyric Opera of Chicago presented this year’s annual concert, Stars of Lyric Opera at Millennium Park. The evening’s program featured a range of selections from works to be presented in the 2019–2020 season along with arias and scenes from other notable and representative operas.

Prom 74: Uplifting Beethoven from Andrew Manze and the NDR Radiophilharmonie Hannover

Ceremony, drama and passion: this Beethoven Night by the NDR Radiophilharmonie Hannover under their Chief Conductor Andrew Manze had all three and served them up with vigour and a compelling freshness, giving Prommers at this eve-of-Last-Night concert an exciting and uplifting evening.

In conversation with Nina Brazier

When British opera director Nina Brazier tries to telephone me from Frankfurt, where she is in the middle of rehearsals for a revival of Florentine Klepper’s 2015 production of Martinů’s Julietta, she finds herself - to my embarrassment - ‘blocked’ by my telephone preference settings. The technical hitch is soon solved; but doors, in the UK and Europe, are certainly very much wide open for Nina, who has been described by The Observer as ‘one of Britain’s leading young directors of opera’.

Prom 69: Elena Stikhina’s auspicious UK debut in a dazzling Czech Philharmonic concert

Rarely can any singer have made such an unforgettable UK debut in just twelve minutes of music. That was unquestionably the case with the Russian soprano, Elena Stikhina, who in a performance of Tchaikovsky’s Letter Scene from Eugene Onegin, sang with such compelling stage magnetism and with a voice that has everything you could possibly want.

Prom 68: Wagner Abend - Christine Goerke overwhelms as Brünnhilde

Wagner Nights at the Proms were once enormously popular, especially on the programmes of Sir Henry Wood. They have become less so, perhaps because they are simply unfashionable today, but this one given by the Royal Philharmonic Orchestra and Marc Albrecht steered clear of the ‘bleeding chunk’ format which was usually the norm. It was still chunky, but in an almost linear, logical way and benefited hugely from being operatic (when we got to the Wagner) rather than predominantly orchestral.

2019 Wigmore Hall/Independent Opera International Song Competition

Russian bass-baritone Mikhail Timoshenko has won the top prize at the 2019 Wigmore Hall/Independent Opera International Song Competition.

An Englishman in Vienna: Stephen Storace

When his first opera, Gli sposi malcontenti, premiered at the Burgtheater in Vienna on 1st June 1985, the 23-year-old Stephen Storace must have been confident that his future fame and fortune were assured.

Stendhal on the Rossini Revolution

Some Details concerning the Revolution inaugurated by Rossini

Prom 65: Danae Kontora excels in Mozart and Strauss

On the page this looked rather a ‘pick-and-mix’ sort of Prom from the Deutsche Kammerphilharmonie Bremen under Greek conductor Constantinos Carydis, who was making his Proms debut. In the event, it was not so much a Chinese take-away as a Michelin-starred feast for musical gourmands.

British Youth Opera: Rossini's La Cenerentola

Stendhal (as recorded in his Life of Rossini) was not a fan of Rossini’s La Cenerentola, complaining that after the first few bars of the Introduzione he was already suffering from a ‘faint feeling of nausea’, a condition which ‘never entirely dissipated, [recurring] periodically throughout the opera, and with increasing violence’.

PUCCINI: Manon Lescaut

Manon Lescaut, dramma lirico in quattro atti

Louise Jeffreys to become Deputy Chair of ENO

English National Opera (ENO) is pleased to announce that Louise Jeffreys is to become Deputy Chair of English National Opera and the London Coliseum. She replaces Nicholas Allan. Louise is currently Artistic Director of the Barbican where she leads...

STRAUSS : Elektra

Elektra: Tragedy in one act.


OPERA TODAY ARCHIVES »

Reviews

18 Sep 2019

Bampton Classical Opera: Bride & Gloom at St John's Smith Square

Last week the Office of National Statistics published figures showing that in the UK the number of women getting married has fallen below 50%. »

Recently in Reviews

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04 Mar 2005

Handel's La Resurrezione in Chicago

Since Brian Dickie arrived as general director, Chicago Opera Theater has become the place to catch Handel’s operas staged with a bold theatrical flair that’s fresh and cutting-edge. The company began its 2005 season with a beautiful and inspiring production of a Handel rarity, “La Resurrezione,” Wednesday night in the Harris Theater for Music and Dance at Millennium Park. »

03 Mar 2005

Musica Sacra at Carnegie Hall

Richard Westenburg led his 36-member Musica Sacra chorus and a small orchestra in works by Bach and Mozart at Carnegie Hall on Tuesday evening, and for the occasion, he revived one of the group’s hits from the 1970’s – the rarely heard early version of Bach’s Magnificat (BWV 242a) [sic]. »

03 Mar 2005

Villazón at the Wiener Staatsoper

Er ist ein Bühnenmensch. Durch und durch. Schon ein Interview mit ihm ist eine äußerst unterhaltsame Dar bietung: witzig, inspiriert und sprühend lebendig. “Ich wollte immer alles darstellen,” sprudelt es aus dem 33-jährigen Mexikaner hervor. Mit Kindereien hat er sich dabei nicht aufgehalten. Bereits mit elf Jahren gehörte sein literarisches Interesse Camus und Kafka. “Die Figuren aus den Romanen waren für mich real, ich wollte so sein wie sie.” Das hat er bisweilen im Extrem ausgelebt. Die Biografie Gandhis hat den Jugendlichen später so fasziniert, dass er mit runder Brille und Glatze zur Schule ging. Das überbordende Ausdrucksbedürfnis entdeckte auch bald den Gesang. Vorerst unter der Dusche, am liebsten die Songs von “Perhaps Love”, Placido Domingos Cross-over-Album mit dem Popsänger John Denver – beide kann Villazón heute noch köstlich imitieren. »

02 Mar 2005

Is it Bach or is it Koopman?

Am Anfang die Frage: Ist’s Bach, ist’s Koopman? Von Johann Sebastian Bachs Markus-Passion ist nur der Text erhalten geblieben. Der Holländer Ton Koopman hat nach einer gängigen Kompositionsmethode Bachs – der Wiederverwendung eigener Werke – die Arien und Choräle der Passion gesetzt und die Rezitative dazwischen neu komponiert. Man könnte sagen, einen handwerklich bearbeiteten Bach erschaffen. An dieses ganz besondere Stück wagte sich nun Philipp Amelung mit seinem Bach-Ensemble und bescherte damit dem Publikum im Münchner Herkulessaal einen äußerst spannenden Abend. »

02 Mar 2005

Stravinsky's Les Noces and Oedipus Rex at the Barbican

After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich’s The Nose and a Stravinsky double bill. Although the two Stravinsky works – the “choreographic scenes” of Les Noces and the “opera-oratorio” Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring. »

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. »

01 Mar 2005

Chabrier's Roi malgré lui in Lyon

Wagnérien passé à la postérité grâce à une espagnolade (España) représentative du brio orchestral français, Emmanuel Chabrier a suscité l’admiration de Ravel et de Stravinsky avec Le Roi malgré lui, dont l’Opéra de Lyon présente une nouvelle production. Pourtant, cet opéra-comique repose sur un livret que peu de commentateurs ont apprécié avec bienveillance. A commencer par le compositeur, aigri par les multiples remaniements du texte : “Une bouillabaisse de Najac et de Burani, que fait cuire Richepin et dans laquelle je colle quelques épices.” »

01 Mar 2005

Bostridge and Uchida in Vienna

Einen Schubert-Liederabend im Großen Musikvereins-Saal zu veranstalten, ist eigentlich eine Schnapsidee. Umso mehr, als ein so persönlicher und intimer Liedzyklus wie die “Schöne Müllerin” auf dem Programm stand, zu singen von Ian Bostridge mit seinem zarten, schlanken Tenor. Immerhin konnten dem Publikum auf diese Weise zwei Schubert-Experten auf einen Schlag präsentiert werden: Bostridge, der zuletzt mit seiner Einspielung der “Winterreise” für Aufsehen sorgte, und Mitsuko Uchida, sicher eine der führenden Schubert-Interpretinnen unter den Pianisten. »

01 Mar 2005

Mosaic: African-American Spirituals

Angela Brown has attracted the attention of those eager for the appearance of the next great Verdi soprano, and she continues to live up to the high expectations. Appearances with the Opera Company of Philadelphia as Leonara in Il Trovatore, Elisabetta in Don Carlo, and Strauss’s Ariadne evoked high praise from local and national critics, and her recent debut as Aida at the Metropolitan Opera was well received. All have noted the powerful and richly expressive voice in early bloom as well as Brown’s commanding stage presence. So this recent recording of spirituals, sung only with guitar or piano accompaniment (they all three contribute to the final “Ride Up in the Chariot”), is an interesting release. Brown is minimizing resources in search of what, in the liner notes, she calls an “intimate recording” of “songs of personal introspection.” The results are a little more mixed than her operatic reception. »

01 Mar 2005

VERDI: Falstaff

This Andante release is a marvelous compilation of two recordings of Verdi’s Falstaff performed at the Salzburg festival, the first conducted by Arturo Toscanini in 1937, the second by Herbert Von Karajan in 1957. The juxtaposition and accompanying extensive program notes encourage the aficionado to compare, contrast and delight in the music through the lens of time. Falstaff was a favorite of the maestri and both took professional chances with it. Toscanini performed Falstaff during his first season at La Scala in 1898; Karajan perplexed his German-speaking audience by programming Falstaff in Aachen during his final season in 1941-2. »

28 Feb 2005

STRAVINSKY: Oedipus Rex; Les Noces

Robert Craft has begun an ambitious project of recording Stravinsky’s oeuvre with two of the best dramatic works, Oedipus Rex — a sort of melodrama in a fever — and Les Noces (The Wedding), which simply defies any generic classification. The two make an ideal pairing, Rex as high drama told at a breakneck crawl, Noces as a kind of musical Polaroid camera that churns through frozen snapshots with a mind numbing velocity. Craft was a close confidant and collaborator with Stravinsky, and was responsible for many premiers and other definitive statements. For better or worse this fact brought down upon his head a certain amount of critical skepticism on the part of academics. This can be set to one side in these recordings, which are certainly reliable in a workaday sense, if a little tepid in terms of insight and energy. »

27 Feb 2005

Rossini's La Cenerentola in Milwaukee

Vivica Genaux hasn’t been singing long enough for the whole world to recognize it, but she is one of the greatest singers of our day. Genaux returned Friday to the Florentine Opera, to sing the title role in Rossini’s “La Cenerentola.” Her voice was huge, and as dark and rich as a profound red wine. Rarely do voices with such weight come to roles such as this, which are loaded with quick, tricky ornaments and aerobatic coloratura tangents. For all its power, Genaux’s singing seems effortless, and her voice is incredibly agile. She articulated every note with utter clarity and accuracy, even in the fastest runs and at the extremes of her range. »

27 Feb 2005

Chicago Opera Theater to Present Handel's La Resurrezione

From an artistic standpoint, Chicago Opera Theater’s inaugural season last year in the new Harris Theater for Music and Dance in Millennium Park couldn’t have been more successful. Productions of Monteverdi’s “The Coronation of Poppea,’’ the haunting Chicago staged premiere of Benjamin Britten’s “Death in Venice’’ and a version of Rossini’s whimsical “Il viaggio a Reims’’ set in the American Wild West were outstanding on both musical and theatrical levels. »

27 Feb 2005

Fledermaus at Opera Australia

This is the triumph of style over content certainly, but in Fledermaus everything triumphs over content. The director, Lindy Hume, with designers Richard Roberts and Angus Strathie, has transposed 19th-century Austro-Hungarian imperial decadence onto 20th-century American imperial decadence, marrying brash New York energy with creaking Viennese charm. »

26 Feb 2005

Salome at the Semperoper

Sie inszenieren die sechste „Salome“ seit der Dresdner Uraufführung 1905 – empfanden Sie die Tradition des Stücks als Last? Da ich die Oper zum ersten Mal anfasse, dominierte die Lust. Eigentlich habe ich ja für „Salome“ Regie-Verbot, welches mir Mitte der 70er Jahre die Strauss-Erben aussprachen. Seinerzeit hatte ich vor Gericht mit der Frankfurter Oper um Urheberrechte an einer Inszenierung von Wagners „Götterdämmerung“ gestritten – und den Prozess gewonnen. Aufgehoben ist das Verbot nicht. Die Erben haben aber auch nicht interveniert. »

26 Feb 2005

Thomas Hampson in Vienna

Kurzweilig und mit pointierten persönlichen Anmerkungen verfeinert eröffnete Bariton Thomas Hampson seinen vierteiligen Amerika-Zyklus: Er ließ das Publikum im Neuen Saal an seiner Spurensuche nach dem “amerikanischen Lied” teilhaben, zog verbindende Fäden von der Alten in die Neue Welt. So sprach etwa der Mahler-Zeitgenosse Edward MacDowell fließend deutsch und wurde von Franz Liszt hoch geschätzt. Seine wonnig-traurige Seefahrer- “Ballade” brachte Hampson dann im Großen Saal darstellerisch raffiniert zur Geltung. Auch Charles Griffes (1884-1920) europäische Wurzeln – er war mit Engelbert Humperdinck befreundet – wurden nachvollziehbar, so in “Des Müden Abendlied”. »

26 Feb 2005

John Blow's Venus & Adonis at the Wiener Kammeroper

“Master of the famous Mr. H. Purcell”: Die Gedenktafel in der Westminster Abbey zeigt deutlich, dass John Blow, geboren 1649, schon für Zeitgenossen ein wenig im Schatten seines um zehn Jahre jüngeren Kollegen im Hofdienst und mutmaßlichen Schülers Henry Purcell stand. Dabei war Blows Karriere als Organist, Komponist und Chorleiter vielfältig und verantwortungsvoll. 1683 schrieb er “Venus und Adonis”, eine “Masque for the entertainment of the King”. Eine Oper im Taschenformat sozusagen, aus der Tradition des höfischen Maskenspiels emporgewachsen zum musikdramatischen Meisterwerk – nur mehr ein Schritt trennt es von Purcells “Dido and Aeneas” (1689). »

25 Feb 2005

BYRD: Consort Songs

This CD collaboration between the early music viol ensemble Fretwork and vocalist Emma Kirkby is devoted to songs of William Byrd composed in the vernacular to be sung with string accompaniment; interspersed with these is a selection of short instrumental pieces in various genres. As a composer whose work was associated especially with the English Catholics, many of Byrd’s compositions from the last quarter of the sixteenth century were based on sacred Latin texts. The less familiar English consort songs chosen for this recording represent a mix of both secular and religious themes. Topics in the song texts include the constancy of Penelope, the narrative of a pet dog who meets an unexpected end, an elegy on Sir Philip Sidney, and the execution of Mary Stuart as bound up with the vicissitudes of Fortune in this world. This selection is further balanced by vernacular songs of an overtly religious character focusing on topics such as the vanity of earthly pleasure and possessions, the Nativity, and a lengthy prayer for divine grace. Finally, some of the song texts draw on a thematic complex of both sacred and profane. »

25 Feb 2005

New York Throws a Party for Handel

Through a felicitous quirk of its touring schedule, Nicholas McGegan and his period instrument ensemble, the Philharmonia Baroque Orchestra, performed a program devoted mostly to music by Handel on Wednesday evening, the 320th anniversary of Handel’s birth. »