Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Insights on Mahler Lieder, Wigmore Hall, Andrè Schuen

At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.

Ermelinda by San Francisco's Ars Minerva

It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).

Wozzeck in Munich

It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

Korngold's Die tote Stadt in Munich

I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.

Exceptional song recital from Hurn Court Opera at Salisbury Arts Centre

Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.

Lohengrin in Munich

An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.

Hansel and Gretel in San Francisco

This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.

An hypnotic Death in Venice at the Royal Opera House

Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d’art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer ‘would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep’.

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Bampton Classical Opera's Young Singers' Competition - Winner Announced

Bampton Classical Opera is delighted to announce that the winner of the 2019 Young Singers’ Competition is soprano Lucy Anderson. The runner-up prize has been awarded jointly to soprano Daniella Sicari and mezzo-soprano Carolyn Holt. The winner of the accompanists’ prize, a new category since 2017, is Dylan Perez, who accompanied Lucy Anderson.

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.

Manon Lescaut in San Francisco

Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.

A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas

A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.


OPERA TODAY ARCHIVES »

Reviews

30 Nov 2019

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas. »

Recently in Reviews

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14  |  15  |  16  |  17  |  18  |  19  |  20  |  21  |  22  |  23  |  24  |  25  |  26  |  27  |  28  |  29  |  30  |  31  |  32  |  33  |  34  |  35  |  36  |  37  |  38  |  39  |  40  |  41  |  42  |  43  |  44  |  45  |  46  |  47  |  48  |  49  |  50  |  51  |  52  |  53  |  54  |  55  |  56  |  57  |  58  |  59  |  60  |  61  |  62  |  63  |  64  |  65  |  66  |  67  |  68  |  69  |  70  |  71  |  72  |  73  |  74  |  75  |  76  |  77  |  78  |  79  |  80  |  81  |  82  |  83  |  84  |  85  |  86  |  87  |  88  |  89  |  90  |  91  |  92  |  93  |  94  |  95  |  96  |  97  |  98  |  99  |  100  |  101  |  102  |  103  |  104  |  105  |  106  |  107  |  108  |  109  |  110  |  111  |  112  |  113  |  114  |  115  |  116  |  117  |  118  |  119  |  120  |  121  |  122  |  123  |  124  |  125  |  126  |  127  |  128  |  129 
10 Mar 2005

KÁLMÁN: Die Csárdásfürstin

Emmerich Kálmán’s name may be familiar primarily to music lovers d’un certain âge, but between the world wars his operettas were as popular as those of Léhar and Strauss on both sides of the Atlantic. Die Csárdásfürstin (The Gypsy [or Czardas] Princess), which premiered in Vienna in 1915, is his best known, and for good reason. Its book by Leo Stein and Béla Jenbach sparkles and delights, but with reversals of fortune that leave the audience wondering until the last minute how love’s complications will be resolved. The Budapest-born Kálmán (1882–1953; his fellow composition students included Béla Bartók and Zoltán Kodály) apparently was weaned on his homeland’s melodies and czardas, which he mixes generously with Austrian waltzes to create a glorious portrait of the twilight years of the Austro-Hungarian Empire. The piece played the New Amsterdam Theater in New York in 1917 as The Riviera Girl, with a new book by Guy Bolton and P. G. Wodehouse and added numbers by Jerome Kern. »

08 Mar 2005

Ring des Nibelungen at the Wiener Staatsoper

An der Wiener Staatsoper ist Wagners “Ring des Nibelungen” derzeit in der Inszenierung von Adolf Dresen zu sehen – das nächste Mal am 12., 17., 24. April und am 1. Mai unter der musikalischen Leitung der Australierin Simone Young. Wer der altbacken und teilweise lächerlich wirkenden Produktion überdrüssig ist, muss bis 2007 warten: Am 2. Dezember hat Sven-Eric Bechtolfs Neuproduktion der “Walküre” in Wien Premiere, am Pult steht Franz Welser-Möst. Die beiden sind ein eingespieltes Team. Bis 2009 wird der Regisseur, der am Burgtheater den “Reigen”, “Cyrano de Bergerac” und “Leonce und Lena” inszeniert hat, auch die drei anderen Teile der Tetralogie in Szene setzen. Zu seinem Konzept wollte er noch nicht viel verraten. Er sehe Wotan aber nicht “mit Aktenkoffer” über die Bühne wandern und kann sich auch Walhall “nicht als Großraumbüro” vorstellen. Bechtolf spielte damit auf die heftig gescholtene Bayreuther Ring-Inszenierung von Jürgen Flimm an, die im August 2004 das letzte Mal über die Bühne gegangen war. »

08 Mar 2005

Die Walküre at Covent Garden

Any production of Wagner’s Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera’s new production, though, that turns out to be not such a good thing at all. »

08 Mar 2005

BRITTEN: Canticles I–V, The Heart of the Matter

Benjamin Britten is usually thought of as a musical dramatist on a large, operatic scale, but the instinct (or perhaps the inner necessity) to capture psychological conflict in music burst through in his smaller musical forms as well. His five canticles (not to be confused with the church parables) mirror Britten’s artistic growth in his operas and other large-scale works from the late 1940s until shortly before his death. »

08 Mar 2005

The Origin of Fire: Music and Visions of Hildegard von Bingen

This last in the contributions of Anonymous 4 to the performance of medieval music is a selection of thematically related texts – most by Hildegard von Bingen – dealing with a spiritual or religious fire. Those renditions of traditional hymns, such as “Veni Creator Spiritus” and “Veni Spiritus eternorum alme,” are interspersed with works of Hildegard’s composition. Some of these are based on her prose visions, e.g. “Et ego homo non calens,” identified topically as “The fire of creation,” a depiction of which is also used for the cover illustration. The prose texts are provided with musical adaptations of plainsong by Anonymous 4. “The fire of creation” was performed using plainchant, and Hildegard’s vision “The fiery spirit” was adapted to a two-voice lection tone from Christmas matins of Polish origin. »

08 Mar 2005

VERDI: Les Vêpres Siciliennes

In 1847, Giuseppe Verdi revised his opera I Lombardi alla prima crociata (1843) into a work for the Parisian stage. This “new” composition, featuring extensive plot changes, new music, and the requisite ballet, is considered better than the original upon which it was based. A reverse fate awaited Verdi’s next work for Paris, the grand opéra Les Vêpres Siciliennes, which premiered at the Opéra in 1855. Although it was performed there, with minor changes, until 1863, attempts to get the work past censors in Italy failed, for tales of successful revolutions simply were not permitted on the Risorgimento stage. After a poor translation of the opera entitled Giovanna de Guzman made the circuits, Verdi revisited the score in 1856, and, removing the ballet, created I vespri sicilani. This inferior version, which employs much of Giovanna de Guzman’s text, is unfortunately the one that has remained in the repertory. »

08 Mar 2005

Handel's Il trionfo at the Barbican

GROUCHO MARX once quipped: “I knew Doris Day before she was a virgin.” Bizarrely, that flashed through my mind as I was gripped, ravished and finally moved to tears by this early Handel oratorio. Here was George Frideric before he became, if not a virgin, then something even more pious: the stately, sedate cheerleader for the Hanoverian dynasty. »

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. »

07 Mar 2005

STRAUSS: Die Fledermaus

Film freezes time and even serves to transport an enrapt viewer into its temporal world. Viewers of the recent DVD release of a December 1980 performance of Strauss’ operetta classic, Die Fledermaus, may not be quite as ecstatic as the local audience, but resistance is futile. Have some champagne ready for the curtain calls. Lovers of this art form will rejoice, and even the operetta-resistant (of which your reviewer is one) must succumb to the energy, star power, and sheer good will of all involved. »

07 Mar 2005

New Music in Boston

The Fromm Music Foundation has been a resident at Harvard for 32 years, commissioning new works and underwriting new-music activity in several venues, including Tanglewood. »

07 Mar 2005

Don Carlo at the Met

“Don Carlo” is Verdi’s “Hamlet.” It’s always an event when the Metropolitan Opera brings back John Dexter’s striking 1979 production of this long, complex, musically profound and psychologically perceptive work, based on Schiller’s play about the indecisive young crown prince Don Carlo and his brutish father, Philip II of Spain, during the madness that was the Inquisition. »

07 Mar 2005

Harnoncourt's Poppea in London

PRACTICALLY my first assignment as a cub critic was to review Nikolaus Harnoncourt conducting Zurich Opera’s production of The Coronation of Poppea. That was in 1978, but I still recall the elation I felt at hearing this great Baroque pioneer sweep centuries of dust from Monteverdi’s masterpiece. »

07 Mar 2005

Manon Lescaut in Essen

Essen. Es ist keine Sternstunde für das erfolgsverwöhnte Essener Aalto-Theater. Warum Generalmusikdirektor Stefan Soltesz Giacomo Puccinis Jugendwerk “Manon Lescaut” ins Programm hob, ist rätselhaft. Denn es liegt mit der gleichnamigen Oper des französischen Komponisten Jules Massenet ein qualitativ weitaus anspruchsvolleres Werk vor. Und hätte er den Mut zur Gegenwart gehabt, hätte sich Hans-Werner Henzes “Boulevard Solitude” angeboten. Ob dies erklärt, dass Soltesz bei der Premiere gleich der 1. Akt zum verhetzten Parforce-Ritt missriet? Immerhin wusste er im weiteren Verlauf den Essener Philharmonikern doch noch die feineren Harmonien zu entlocken, an denen es hier ja nun nicht völlig mangelt. »

06 Mar 2005

A Minimalist Entführung aus dem Serail

Die zwei Pärchen in Mozarts “Entführung aus dem Serail” haben ohnehin genug Schwierigkeiten zu überwinden, bis sie endlich auf ihrem Schinakel gen Westen fahren dürfen. Vor dem mutigen Versuch des “Letzten Erfreulichen Operntheaters”, das Singspiel nur mit Klavier, Oboe und Flöte instrumentiert auf ihre Kellerbühne zu stellen, türmte sich bei der zweiten Vorstellung ein weiteres Hindernis auf: die Grippe-bedingte Absage des Osmin-Darstellers. Gerade aus dem dadurch nötigen Provisorium erwuchsen dem Abend aber die besten Momente. »

06 Mar 2005

A Preview of Un ballo in maschera in Kansas City

In the resonant, garishly lighted basement of Trinity United Methodist Church, art is imitating life. »

06 Mar 2005

Nozze in Baltimore

Human beings will always be good for a laugh, especially when they’re in full pursuit of sex. »

06 Mar 2005

PUCCINI: La Bohème

Even for a jaded reviewer like this one who has seen innumerable Bohème’s all over the world, there comes a moment in the third act when music and production simply take precedence over intellectual curiosity: the old magic works again and one is moved by the fate of these youngsters. High praise indeed for the famous Zeffirelli-production, born in 1963 at La Scala together with a juicy scandal when Di Stefano was ousted and replaced by Gianni Raimondi. »

06 Mar 2005

Fidelio at Carnegie Hall

Beethoven’s “Fidelio” is an opera about freedom that is shackled by a limited libretto. A great performance can unlock its treasures. A mediocre one can feel like prison, as the Collegiate Chorale’s performance on Thursday night at Carnegie Hall underlined. It was a long and murky night, although there were many glints of bright light that tantalizingly shone through. »

05 Mar 2005

ZEMLINSKY: Une Tragédie Florentine

The operas of the Austrian composer Alexander von Zemlinsky (1871-1942) continue to fascinate audiences with their combination of carefully composed music and well-selected librettos. After using fairy-tale elements in his early operas, such as Sarema (1897), Es war einmal (1900), and Der Traumgörge (1905-6), Zemlinsky turned to Renaissance settings for Eine florentinische Tragödie (1917) and Der Zwerg (1922). In fact, Zemlinsky’s Florentinische Tragödie is based the dramatic fragment A Florentine Tragedy, by Oscar Wilde, whose works intrigued other composers of the time. Beyond the provocative drama Salome set by Richard Strauss, Franz Schreker used a story by Wilde as the basis for his ballet Die Geburtstag der Infantin (1908). »

05 Mar 2005

SCHOENBERG: Gurrelieder

Schoenberg for lovers. Sounds like an oxymoron, but in fact there is enough passion in the too seldom heard Gurrelieder to make even Valentine blush. We know Schoenberg largely from the atonal and dodecaphonic later works (and most listeners know of these mostly by inaccurate rumor). But we forget all too often the fact that Schoenberg had an early period, much of which is readily accessible to conservative tastes. Gurrelieder is the sort of diamond in the crown of this period, a long cantata-like adventure, some two hours in full. Scored for an enormous orchestra, four choirs, and speaker, and five soloists, the work is the logical conclusion of the nineteenth-century penchant for Texas-style excess when it comes to orchestration: you can’t get any bigger than this without havin’ to build a second story. »

04 Mar 2005

Stiffelio at Sarasota Opera

SARASOTA — Many operas are all about the music, but in “Stiffelio” composer Giuseppe Verdi paid a lot more attention than usual to the words. »

04 Mar 2005

Ravel and Poulenc at the Barbican

On paper, Ravel’s mock-Spanish “comédie musicale” (1904) and Poulenc’s mock-everything “opéra bouffe” (1944) should make a toothsome double bill. Less than an hour each, elegantly funny in quite different veins – and excellent for the Guildhall School of Music and Drama, for no heroic voices are required. But the team’s Ravel proved a lame affair, and its Poulenc – sung in English, with the same director (Stephen Langridge) and conductor – a delight. »