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Elsewhere

Cool beauty in Dutch National Opera’s Madama Butterfly

It is hard to imagine a more beautifully sung Cio-Cio-San than Elena Stikhina’s.

Kurt Weill’s Street Scene

Kurt Weill’s “American opera,” Street Scene debuted this past weekend in the Kay Theatre at the Clarice Smith Performing Arts Center, with a diverse young cast comprised of students and alumni of the Maryland Opera Studio (MOS).

Handel's Brockes-Passion: The Academy of Ancient Music at the Barbican Hall

Perhaps it is too fanciful to suggest that the German poet Barthold Heinrich Brockes (1680-1747) was the Metastasio of Hamburg?

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Daniel Kramer to step down as English National Opera’s Artistic Director

Daniel Kramer is to step down as ENO’s Artistic Director at the end of July 2019 in order to focus on directing more opera and theatre full time.

Wexford Festival Opera's award-winning Il bravo to be streamed on ARTE.tv

From 7 pm (CEST), this Sunday 21 April, ARTE, the European public service broadcaster, will stream one of last year’s Wexford Festival Opera productions, Saverio Mercadante’s Il bravo, which was recently named ‘Best Opera Production’ at The Irish Times Irish Theatre Awards. Il bravo will be freely available worldwide on ARTE’s digital on-demand culture channel, Arte Concert, as part of ARTE’s 2019 Opera Season, a special online service for lovers of classical music. The opera will subtitled in English, German and French.

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

Bampton Classical Opera 2019: Stephen Storace - Bride & Gloom (Gli sposi malcontenti)

Newly-wed Casimiro and Eginia hardly seem to be enjoying a state of marital bliss. Why does Eginia sleep on her own, and why is her ex, Artidoro, still hanging around? He now seems to have an eye for the undoubted charms of Casimiro’s sister, Enrichetta - but she’s also attracted the lustful interest of dull and dusty Dr Valente, a man likely to turn nasty if thwarted …

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

The Nibelungen-Myth. As Sketch for a Drama

From the womb of Night and Death was spawned a race that dwells in Nibelheim (Nebelheim), i.e. in gloomy subterranean clefts and caverns: Nibelungen are they called; with restless nimbleness they burrow through the bowels of the earth, like worms in a dead body; they smelt and smith hard metals.

Transylvanian-born mezzo-soprano Eszter Balogh wins the 2019 Handel Singing Competition

Following the final on Saturday 6 April, the Handel Singing Competition announced mezzo-soprano Eszter Balogh as the 2019 winner. Alongside Eszter, the finalists were Patrick Terry (countertenor), David de Winter (tenor) and William Thomas (bass) and the final took place at St George’s, Hanover Square in London in front of a live audience.

English National Opera announces 2019/20 Season

ENO’s 2019/20 season features seven new productions and three revivals, the greatest number of new productions for five years.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.


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Reviews

Sergio Escobar as Pinkerton and Elena Stikhina as Cio-Cio-San [Photo © BAUS]
24 Apr 2019

Cool beauty in Dutch National Opera’s Madama Butterfly

It is hard to imagine a more beautifully sung Cio-Cio-San than Elena Stikhina’s. »

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24 Jan 2005

Samson and Delilah at Opera Carolina

Maybe Camille Saint-Saens should’ve chosen his friends more carefully. When he marshaled a singer to treat them to two arias from an opera he was working on – about the biblical tale of Samson and Delilah – they scoffed. »

24 Jan 2005

Missa Solemnis at Chicago

Two of Beethoven’s most difficult yet most inspiring masterpieces, “Fidelio” and “Missa Solemnis,” are making Chicago the epicenter of a grand Beethoven festival. Each work is a heroic undertaking that tests the performers’ mettle to the utmost. And yet, with soprano Karita Mattila leading Beethoven’s only opera to triumph at Lyric Opera, and, the Chicago Symphony and Chorus delivering a strong and stirring performance of the “Missa Solemnis” this weekend at Orchestra Hall, one comes away exalted, grateful to have heard these pieces performed at the highest level. »

23 Jan 2005

Kurt Schwertsik's Katzelmacher at Neue Oper Wien

Der kabarettistisch freche Ton der Pariser Moderne der Dreißigerjah re ist es, der Kurt Schwertsik fes selt. Das bekannte er jüngst im Gespräch. Dieser Ton weist ihm offenkundig auch den Weg in Gefilde des Musiktheaters, die nichts mit den erdschweren, klangwuchernden Experimenten der deutschen und österreichischen Moderne der Nachkriegszeit zu tun haben, sondern sich am moralisierenden Unterhaltungstheater der Zwischenkriegszeit orientieren, das nicht nur von den Franzosen – in einer durchaus konsequent aus dem ursprünglichen, sozialkritischen Operetten-Esprit eines Jacques Offenbach – entwickelt wurde. »

23 Jan 2005

Cantors & Capellmeisters at Queen Elizabeth Hall

WHEN a programme contains music by Gregor Aichinger, Philipp Friedrich Böddecker, Daniel Bollius and Johann Christoph Pezel, to name only four (or is it ten?), an auditorium less than full might, unfortunately, be suspected. These are 17th-century German worthies known largely to scholars alone. But why can’t audiences be more adventurous? In that century you’re bound to get memorable tunes, catchy rhythms, enticing counterpoint: I don ’t see what the problem is. »

22 Jan 2005

A Disarming Pelléas et Mélisande

You cannot blame this longtime lover of Debussy’s “Pelléas et Mélisande” for being suspicious when L’Opéra Français de New York announced that it would present a staged production of the work in its “original version” for voices and piano. No orchestra? Wasn’t this small company simply producing the opera on the cheap? The L’Opéra Français production opened on Wednesday night at the French Institute Alliance Française on East 59th Street, and it was a revelation. »

22 Jan 2005

Così fan tutte at Wiener Staatsoper

Mag sein, manch einer findet die forsche Gangart, die Julia Jones bei Mozart einschlägt, ein wenig zu schnoddrig. Doch erweist sich: Die Dirigentin weiß in jeder Phase einer Aufführung, was sie will, behält die Übersicht über die Dramaturgie und hält Orchester und Bühne immer fein zusammen – und das in raschem Lustspielton. Alles Eigenschaften, die heutzutage offenkundig auch in der Wiener Staatsoper rar geworden sind. »

21 Jan 2005

BERLIOZ: Les Troyens

For the last couple of decades, the “concept production” has been a controversial presence on opera stages, generally director-driven and decried by traditionalists as detracting from the essence of opera which they define as “voice, voice, voice.” Here’s a refreshing and overdue variant, a production concept that is conductor-driven, devoted to rethinking the sound and casting principle appropriate for French grand opera by starting at the top with the grandest of them all. The point is often made that we now lack heroic voices for the great works. John Eliot Gardiner’s casting argues, rather convincingly I think, that “heroic” is a concept relative to an opera’s overall style and the period in which it was written. He casts in the French tradition that knows the difference between a German heldentenor whose strength lies in the middle and bottom of the voice, and a French heroic tenor, of whom is demanded a free and brilliant top and the ability to soar over ensembles with precisely focused tone. Many in this cast are associated with music of the Renaissance, Baroque and early nineteenth century. Their voices are clearer and lighter than we have become accustomed to in Les Troyens and Gardiner surrounds them with a chorus that can not only move and act with distinction, but whose voices in ensemble have the required buoyancy, flexibility and brilliance for Berlioz’s demanding choral writing. »

21 Jan 2005

An Evening With Clara's Piano

Among the often spurious partnerships beloved by musical history — Bach and Handel, Bruckner and Mahler, Britten and Tippett — that of Schumann and Brahms at least has the merit that the composers were not actually antithetical in style and manner. They were, if not a conscious partnership, a powerful joint force for the perpetuation of classical values in the 19th century, the elder — Schumann — the sponsor and active publicist of the other. Brahms was “discovered”, encouraged, sustained and venerated by Schumann. He, in turn, devoted his whole bachelor life to the succour of the Schumann family, giving rock-like support to Clara Schumann as her husband’s syphilitic madness took him over, and seeking to preserve Schumann’s oeuvre at its most illustrious and least clouded-over, withholding publication of some later works. »

21 Jan 2005

It's Shag-A-Delic, Baby!

Perhaps the Tippett centenary has come too soon, and the seven years since the composer’s death have been insufficient for his achievement to be digested and for the anniversary celebrations to take on any real significance. But no matter how much time had passed, I doubt that his third opera, The Knot Garden, will ever seem more than a period piece, wedded to the late 1960s when it was written. »

21 Jan 2005

Generallissimo Francisco Franco is still dead

After some wild recent productions it comes as a surprise to find a Don Giovanni set in Spain, as Mozart intended. How many directors care to remember that Don Giovanni’s tally of women there numbered 1,003, as Leporello’s catalogue reminds us every time we see the opera? Having decided on a Spanish setting, Opera North’s new production tries to make the most of it. Photos of bullfights are flashed across a screen to draw a glib parallel with Don Giovanni the predatory sexual toreador. The cast gird their loins for some rather dubious Spanish dances. And — most important — the time is updated to the Spanish Civil War, bringing the class antagonism of the opera into modern focus. »

20 Jan 2005

BERG: Wozzeck

Andante’s new mastering of famous live performances aims to capture what those performances might have felt like. This gives these recordings an automatic cachet of authenticity and a kind of cult status. However, much depends on the quality of the particular performance. The skill is to choose quality performances that really are interesting in themselves, and to remaster them in ways that do them justice. The Andante series comes impressively packaged, with luxuriously bound booklets, beautifully presented. However, in this case the music does not quite match the promise. Worthy as this performance is, and worthy it is indeed, it is not an ideal first choice. Artistically it is good, but best appreciated by those who know Abbado, Boulez, Dohnanyi and even Böhm’s later recording. While I’m one who listens for music, not for sound quality, in this case the sound quality is poor enough to distract – not enough to ruin listening, for it would take a lot to deter a genuine listener – but just enough to feel that you’re listening through an artificial medium. This may have been recorded live, but it doesn’t “feel” live, with the pops, crackles and occluded passages. Ultimately that defeats its own purpose. »

20 Jan 2005

Karita Mattila — A Stunning Leonore

'Fidelio' returns Lyric, cast rise above flawed Beethoven opera By John von Rhein Tribune music critic January 19 2005, 1:00 AM CST "Fidelio" has been missing in action at Lyric Opera for nearly 24 years, much too long for... »

20 Jan 2005

Live from New York — Death and Transfiguration

The level of Luciano Berio’s music was still on the ascent when he died two years ago at 77. “Stanze” – five poems for solo voice, chorus and orchestra – were his last pieces, and they shine with poise and quiet confidence. We are reminded that the possibilities of instrumental combinations are far from exhausted. The Philadelphia Orchestra under Christoph Eschenbach introduced New York to “Stanze” at Carnegie Hall on Tuesday night, adding Act III from Wagner’s “Parsifal” in concert form. Paul Celan’s “Tenebrae,” the first poem, is accompanied by drifting, attenuated chords of extraordinary beauty. If Berio’s music moves slowly, or sometimes not at all, there is activity within: textures swelling and contracting like lungs, woodwind colors swimming and undulating. So striking are the sounds that high drama is unnecessary. »

20 Jan 2005

Renée Takes Seattle

Renée Fleming came and conquered the full house Tuesday night at Benaroya Hall. Now 45, the soprano is in her prime, not only with that voluptuous voice but her musical acuity and dramatic instincts. When singers become as famous as Fleming, connoisseurs find something to criticize, often justified: a mannered style or lackluster ambition in terms of repertory, for instance. When the voice is as gorgeous and gleaming as Fleming’s, there is always the danger the singer will be content to deliver a pretty sound and little else. »

20 Jan 2005

Pelléas et Mélisande in New York

NEW YORK Sigmund Freud’s seminal “Interpretation of Dreams” was published in 1900. But Claude Debussy had already poked around in the unconscious in his landmark opera “Pelléas et Mélisande,” which he had essentially composed (though not orchestrated) by 1895. Of course, Maurice Maeterlinck, whose play Debussy adapted into his opera, had been treading through Freudian terrain even earlier. Maeterlinck, a leading figure in the Symbolist movement, which arose in the 1880s, espoused veiled emotions, mystery and indirection over realism. »

20 Jan 2005

The Russians Bomb at Kennedy Center

What were they thinking? The “Kirov Spectacular” — which opened last night at the Kennedy Center Opera House — proved the sort of celestial vaudeville that should have . . . well, gone out with vaudeville. It seemed a generous program — some three hours of selections from ballets and operas performed by the Kirov Ballet, Opera and Orchestra of the Mariinsky Theatre, under the direction of Valery Gergiev. But the pieces had little to do with one another (indeed, they could almost have been chosen by lottery) and the musical performances were too often shopworn and lackluster — a scanty reward for those who managed to find their way to the Kennedy Center through the cold, clotted streets of pre-inauguration Washington. »

19 Jan 2005

Manon Lescaut at Seattle — Two Reviews

Puccini’s “Manon Lescaut,” which Seattle Opera has produced only sporadically in its 40-year history, is a work that goes in fits and starts. Moments of genuine inspiration and compelling drama mark the composer as a man of genius, but in this early opera, his talent is not always consistent. The demands on the tenor are notoriously difficult. So, with its eyes wide open, the company mounted the third production in its history to bring in the new year Saturday night at McCaw Hall. It succeeded more than many efforts without breaking the bank, using conventional but serviceable sets and costumes from Montreal Opera. »