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Elsewhere

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .)

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.


OPERA TODAY ARCHIVES »

Reviews

Marjukka Tepponen (Tatyana) and John Moore (Eugene Onegin) [Photo by Sunny Martini]
19 Jan 2020

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .) »

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24 Feb 2005

Schubert's Die schöne Müllerin at Wigmore Hall

A decade ago, Ian Bostridge’s recording of Schubert’s Die Schöne Müllerin, with Graham Johnson, played a major part in boosting his nascent career. These days, though, the tenor is more often found collaborating with pianists who are soloists in their own right. His second recording of the song cycle has seen him developing a partnership with Mitsuko Uchida – and it might be his most fruitful so far. »

24 Feb 2005

Tan Dun's Water Passion at Perth

IN pursuing its theme of transcendence, the Perth Festival has brokered some imaginative collaborations, such as the Tura New Music concert at the Art Gallery of WA, featuring Morton Feldman’s music inspired by the paintings at the Rothko Chapel in Houston, Texas. . . . »

24 Feb 2005

A Bad Day at the Staatsoper

The apes have landed. The Duke of Mantua is a gorilla. Monterone is an orang utan, surrounded by hairy baboons. The cult film director Doris Dörrie is monkeying with Verdi’s Rigoletto at the Bavarian State Opera. »

24 Feb 2005

A Full House at Royal Albert Hall

It is strange how easily Raymond Gubbay manages to fill the Royal Albert Hall for opera, when less than a year ago his Savoy Opera company collapsed because he could not sell enough seats in a theatre a fraction of the size. How irrelevant that ill-starred venture and its demise seem now. »

23 Feb 2005

Samson et Dalila at the Met

Though a sizable contingent of opera connoisseurs and critics have long considered Saint-Saëns’ “Samson et Dalila” a musically tepid melodrama, this 1877 opera has been an enduring favorite with audiences. It’s not hard to understand why. »

23 Feb 2005

Verdi's Requiem Tours France

A qui s’adresse le compositeur d’un Requiem ? Au défunt, que sa musique doit accompagner dans une ultime transcendance, ou à la communauté endeuillée, qui se voit ainsi rappeler son état de mortel ? Dans le cas de Verdi, agnostique déclaré mais chantre du sacré à l’opéra, la réponse ne fait aucun doute. La Messa da Requiem, créée en 1874 à la mémoire du compositeur Rossini et de l’écrivain Manzoni, est destinée à tout être humain sensible au pouvoir des sons. »

23 Feb 2005

The Controversy Continues in Munich

Eine groß angelegte, staatstheaternde Rettungsaktion sollte es sein. Und dass Doris Dörrie jene Verweigerer, die Oper doof statt dufte finden, an die Hand nehmen will, um sie heim in die Hochkultur zu holen, ist ja prinzipiell in Ordnung. Dabei pflegt die Filmregisseurin nur zu gern mit ihrem Nichtwissen in Sachen Musiktheater zu kokettieren, um augenzwinkernd nach Kumpanen zu suchen: Oper, die mischen wir mal so richtig zeitgeistig auf. »

23 Feb 2005

Aida in Philadelphia

Like picking a growth stock, the Opera Company of Philadelphia showed shrewd judgment by engaging sopranos (for two of its four 2004/05 productions) who promptly became media darlings. »

22 Feb 2005

CAVALLI: Arias and Duets from 5 operas

Some years ago, those of us who are aficionados of pre-1750 repertory – and all the more so, those of us who are privileged to be able to teach it – were happy to have any recording of the music we hold so dear. We were happy to excuse wooden-ness or sloppiness of performance because, well, some idea of the sound of pre-Classical repertories was better than none at all. Over the last couple of decades, with the proliferation of phenomenal performers and ensembles who specialize in early music, this resignation faded: we now are spoiled by having our choice of many polished performances, and the privilege of comparing their relative merits. »

22 Feb 2005

Poppea in Zurich

The early music movement has come a long way since the 1970s. Or has it? Zurich Opera’s new L’incoronazione di Poppea invites comparisons. This opera house’s Monteverdi cycle three decades ago changed the way the world thought about the composer. Now it’s time for the remake. Same conductor, different directors. Klaus-Michael Grüber staged a spare, emotional Il ritorno d’Ulisse in patria three years ago. For Poppea, it’s Jürgen Flimm’s turn. »

22 Feb 2005

Rigoletto in Munich

München – Idee ungewöhnlich, Experiment gescheitert: Unter dieser Kurzformel könnte man Doris Dörries erste und von großem Medieninteresse begleitete Münchner Opern-Inszenierung zusammenfassen. Giuseppe Verdis 1851 in Venedig uraufgeführten Opernklassiker «Rigoletto» auf dem «Planeten der Affen» anzusiedeln, diese Vorstellung fand bei der Premiere im Münchner Nationaltheater wenig Freunde. »

22 Feb 2005

Prokofiev's Love for Three Oranges in Linz

Es ist eine der kürzesten Sterbesze nen der Operngeschichte: Ein schnoddrig verkündetes Todesur teil, jemand wuselt mit einem Strick herum, dann ist die intrigante Königs-Nichte auch schon tot. In Prokofieffs Märchen-Oper “Die Liebe zu den drei Orangen” wird schnell gestorben: Auch die den ersten beiden Zitrus-Früchten entsprungenen Prinzessinnen verdursten rasch, wenn auch klagend – eines der Details, mit denen sich der Komponist/Librettist Prokofieff vom Verismo abgrenzt. Keine naturalistische Darstellung, keine opulent auskomponierten Szenen voller Gefühlsüberschwang; statt dessen: Märchen und absurdes Theater, kurze Sequenzen, die einander fast überholen. »

22 Feb 2005

Massenet's Werther at the Wiener Staatsoper

Zuweilen begnügt man sich auch mit Details. Wenn das Ganze so gar nicht stimmen mag, gelingt es viel leicht dem einen oder anderen der beteiligten Künstler sozusagen gegen den Strom schwimmend, eine herausragende Leistung zu modellieren. Im Falle der “Werther”-Premiere darf Elina Garanca das künstlerische Freischärlertum für sich in Anspruch nehmen. Sie sollte die Charlotte singen, wurde von Regisseur Andrei Serban jedoch gezwungen, eine Art Grace-Kelly-Parodie abzuliefern, denn das Stück spielt von Inszenierungs-Gnaden in den fünfziger Jahren des 20. Jahrhunderts. »

22 Feb 2005

Anne Sofie von Otter at Göteborg

Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire — what if I didn’t like them in concert? The concert hall was full — 1200 seats, imagine that for a recital… I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience. »

21 Feb 2005

Elisabeth Schwarzkopf Sings Operettas by Lehár, Suppé, and Strauss

This new disc, from Hänssler’s “Living Voices” series, divides essentially into two parts. The first four tracks are “Potpourris” from Léhar’s Paganini and Das Land des Lächelns, Suppé’s Bocaccio, and Johann Strauss’s Wiener Blut. Recorded in 1939 and 1940, these “Potpourris” feature tenor Rupert Glawitsch and a very young Elisabeth Schwarzkopf (b. 1915). The remaining eight tracks include excerpts from Schwarzkopf’s early-50s EMI complete mono recordings of Die Lustige Witwe and Land das Lächelns. »

21 Feb 2005

CANTELOUBE: Chants d’Auvergne

In the mountains of the vast Auvergne country near the south of France lays the inspiration of Canteloube’s Chants D’Auvergne. Marie-Joseph Canteloube, born in 1879 at Annonay, spent his childhood in the countryside of Malaret in the south of Auvergne. It was these roots that instilled his love for folk-music, consuming much of his compositional output and research. He wrote Les chants paysan s’élève bien souvent au niveau de l’art le plus pur, par le sentiment et l’expression, sinon par la forme. (The songs of peasants very often reach the level of the purest art in feeling and expression, if not in form.) »

21 Feb 2005

Michael Bohnen: At the Metropolitan Opera, New York

The title of this most worthwhile CD is, I’m afraid, somewhat misleading. The charismatic German bass-baritone, Michael Bohnen, sang at the Metropolitan Opera from 1923-1932. One might expect this CD to only document roles that Bohnen sang there, if not provide transcriptions of actual Met performances. In fact, the disc includes excerpts from several roles that Bohnen never sang at the Met. Of the twenty tracks on this CD, twelve, by my count, are souvenirs of Bohnen Met roles (Tonio, Rocco, Caspar, Mephistopheles, Wotan, Wolfram, Sachs, and Francesco in Schilling’s Mona Lisa). »

21 Feb 2005

Wozzeck at WNO

FIRST nights of Alban Berg’s Wozzeck are not traditionally sellouts, but then this was anything but a traditional first night. As the main event of Welsh National Opera’s inaugural weekend in its new home, the Wales Millennium Centre at Cardiff Bay, Saturday night’s performance sent out a volley of positive signals that will stand the company in good stead as it builds new audiences. There are more seats to fill than in WNO’s old house, but a strong forthcoming season combined with adventurous pricing policy should prolong the buzz. »

21 Feb 2005

Adams' The Death of Klinghoffer in Philadelphia

Time stands quite still in John Adams’ opera The Death of Klinghoffer. The pulsing orchestra, the explanatory choruses, the shifting viewpoints, and, above all, the tacit understanding that the events of 20 years ago are being replicated now with no measurable change give the work the feeling of complete stasis. »

21 Feb 2005

WNO Triumphs With La Traviata

Welsh National Opera’s first performance in its new home could so easily have been a disaster. But nowhere was the return of its former musical director Carlo Rizzi more crucial than in this revival, as he transformed the shoddy Traviata of last May into an emphatic restatement of the musical values that have traditionally been at the core of the WNO. Rizzi conducted with authority and passion, and with such care for his singers that where terminal decline had beckoned, he seemed to have effected a miracle cure. »

21 Feb 2005

Handel's Semele at Scottish Opera

A tale of everyday mortals and gods entranced a nearly full house at beleaguered Scottish Opera last night with the same clever mix of pathos, wit, drama and humour that has kept nations’ favourite soaps at the top of the viewing and listening schedules for decades. And it was the visual elements as much as the vocal and musical that clinched the success of this premiere performance last night. Director John la Bouchardiere (of “The Full Monteverdi” fame) worked with a light touch that engagingly mixed some pretty unusual elements into a confection that finally had the audience calling its approval. Likewise, young Christian Curnyn on the podium brought his Early Opera Company experience and love of truly modern stagings of Handel to bear, and managed to persuade the SCO orchestra to eschew both vibrato and swooping lines without adding any extra period instrumentalists, save a harpsichord. Apart from a slightly unconvincing first 10 minutes (of more later) they played with increasing verve and apparent conviction throughout. »

21 Feb 2005

Daniel Catán's Florencia en el Amazonas

If you had to name an opera you thought Seattle music lovers were dying to see and hear, what would be your guess? “Carmen”? “Madame Butterfly”? Maybe the ever-beloved story of ill-fated young lovers, “La Boheme”? »

21 Feb 2005

SALGADO: The Teatro Solis 150 years of Opera, Concert and Ballet in Montevideo

During the latter half of the 19th century, and much of the 20th, countless opera companies, mostly Italian, but also some French and an occasional German, toured much of the Southeast coast of Latin America. Cities visited most frequently included Buenos Aires, Montevideo, Rio de Janeiro, and Sao Paulo, with occasional swings inland (Rosario and Cordoba), but sometimes going as far West as Santiago and Valparaiso. »

19 Feb 2005

Verdi's Otello at Opéra-Bastille

Ce ne sont pas des notes qui jaillissent de la baguette de Valery Gergiev, c’est un foudroiement : une tempête d’air, d’eau, de feu qui déchire l’espace et fige d’horreur le chœur des Chypriotes massés au port pour le retour vainqueur d’Otello. Une puissance dévastatrice, métaphysique. »