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Elsewhere

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

Battles administration neglects FLO’s assets by defunding the program

The college administration and President Denise Battles’ recent decision to defund the Finger Lakes Opera came as a shock to many and a concern to more. This decision reflects the administration’s blatant disregard for the arts and reveals a mindset that is counterproductive to the mission of the college.


OPERA TODAY ARCHIVES »

Reviews

Les Arts Florissants at the Wigmore Hall
17 Jan 2017

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’ »

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30 Jul 2013

Prom 20: Wagner — Götterdämmerung

By the end of the first act, I was convinced that, barring a catastrophe of, well, Götterdämmerung-like proportions, this would now turn out to be the greatest Ring since Bernard Haitink’s 1998 Royal Opera performances— also semi-staged, also at the Royal Albert Hall.  »

30 Jul 2013

Prom 19: Wagner — Tristan and Isolde

For those whose Wagnerian thirst had not yet been quenched by three parts of the Ring, the Proms now offered Tristan und Isolde. »

30 Jul 2013

Prom 18: Wagner — Siegfried

The brightest star in this performance proved once again to be the Staatskapelle Berlin, under Daniel Barenboim’s guidance. »

30 Jul 2013

Schubert’s Winterreise, Wigmore Hall

When faced with the illustrious Winterreises of the past and the renowned, and often highly original, interpretations of present-day performers, how is a tenor to approach Schubert’s setting of Wilhelm Müller’s pessimistic exploration of a mind spinning into disillusion and despair? »

30 Jul 2013

Something Rotten in the State of Arcady?

One can only imagine the small-ad: “exquisite small italianate water garden wishes to meet pastoral “little opera” in intimate setting, small cast and orchestra ideal, with music of delightful poise and accessibility. »

30 Jul 2013

The Aix Festival 2013

Don Giovanni — the coup de coeur. Elektra — a masterpiece. Rigoletto — a hit and a miss. »

24 Jul 2013

Prom 15: Wagner — Die Walküre

The superstitious would have us believe that it is better not to build up expectations, lest they be confounded.  »

23 Jul 2013

Glimmerglass’s rarely done ‘King for a Day’ a rare treat, well done

This zany production of Verdi’s only comic opera before ‘Falstaff’ keeps the singers in chaos and the audience in stitches  »

23 Jul 2013

Elena and The House Taken Over

That’s Helen (of Troy) by Cavalli, so maybe you are interested after all, though the more engaging experience was The House Taken Over by Vasco Mendonça. »

23 Jul 2013

Prom 14: Das Rheingold

For me, this is almost to have come full circle — though as anyone with even the slightest acquaintance with the Ring will tell you, the so-called ‘cycle’ does not end where it began, its world having been changed forever.  »

22 Jul 2013

A Music Of One’s Own: From The Diary of Virginia Woolf

The final concert in pianist Julius Drake’s Perspectives series united song, literature and biography through the prism of Dominick Argento’s Pulitzer Prize-winning song-cycle, From the Diary of Virginia Woolf. »

20 Jul 2013

Stockhausen at the BBC Proms

The Royal Albert Hall was made for Karl-Heinz Stockhausen. BBC Prom 11 2013 featured Gesang der Jünglinge and Welt-Parliament from Mittwoch from Licht. »

20 Jul 2013

Capriccio, Royal Opera

‘Wort oder Ton?’ may be the Countess’s question, but it is far from the only question asked in, let alone by, Capriccio.  »

19 Jul 2013

Glimmerglass premiere of ‘Camelot’ chivalrous, but hardly a knight to remember

David Pittsinger, as King Arthur, provided most of the magic in this pleasant but unspectacular production of the Lerner and Loewe musical »

19 Jul 2013

Don Pasquale, Glyndebourne

Donizetti’s late comedy Don Pasquale debuted in Paris in 1843 and has been popular ever since. It was produced at the Glyndebourne Festival in 1938 but, rather surprisingly, Mariame Clement’s 2013 production, refreshingly set in the 18th century rather than being update, was the first festival production since 1938.  »

19 Jul 2013

Prom 8: Adès’ Totentanz

This remarkably cohesive programme of works by Britten, Lutoslawski and Adès was underpinned by a dark intensity; tragic realism interwoven with transient intimations of hope. »

18 Jul 2013

Adriana Lecouvreur from Decca

Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.  »

17 Jul 2013

Cléopâtre and Les Troyens in Marseille

There are forces to be reckoned with at l’Opéra de Marseille — a first class orchestra, a first class chorus, first class casts (with notable exception, see below) who inhabit an extraordinarily fine old opera house. »

17 Jul 2013

L’elisir d’amore, Opera Holland Park

Pia Furtado’s production of Donizetti’s gentle rom-com, L’elisir d’amore, opens in the greenhouse-laboratory of a sunflower factory — all steel trolleys and agronomic apparatus.  »

17 Jul 2013

Glimmerglass Festival’s ‘The Flying Dutchman’ a voyage to remember

Excellent staging and strong vocal efforts put wind in the sails of this legendary ghost ship »

16 Jul 2013

Opera from Cambridge University Press

Although part of a series entitled Cambridge Introductions to Music, Robert Cannon’s wide-ranging, imaginative and thought-provoking survey of opera is certainly not a ‘beginners’ guide’.  »

13 Jul 2013

Ermonela Jaho — Singing and Character

Ermonela Jaho caused a sensation at Covent Garden in London five years ago, when she took over Violetta at short notice from Anna Netrebko.  »

11 Jul 2013

Britten: The Canticles

First performed at this year’s Brighton Festival and originally designed for the Theatre Royal Brighton, this multi-media staging of Benjamin Britten’s five Canticles by long-standing collaborators Neil Bartlett and Paule Constable, also had an outing at Snape Maltings Aldeburgh in May this year, and has now arrived on the austere stage of the Linbury Studio at the Royal Opera House. »

10 Jul 2013

Central City Opera: Rocky Mountain High

Central City Opera’s meticulous staging of Our Town makes as good a case as is likely possible for Ned Rorem’s operatic version of that classic play.  »

10 Jul 2013

Macbeth, Blackheath Halls

Since its inception in 2006, the annual community opera at Blackheath Halls has become a favourite fixture in the local summer calendar.  »

08 Jul 2013

Lawrence Brownlee’s Spiritual Sketches

It would be condescending and perhaps even offensive to suggest that singing traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.  »

08 Jul 2013

Britten’s Curlew River and The Prodigal Son

Poised between ritual and drama, between East and West, between Zen-Buddhist symbolism and Christian medieval morality play, Britten’s three church parables pose some tricky problems — including a deliberately objectivised framing device which can distance the work from the audience, and, unusually for Britten, some less than effective musico-dramatic pacing.  »

08 Jul 2013

Musical Fireworks in Iowa

‘Tis the season for aerial starbursts, and for my money more than a few rockets could be sent up to laud Des Moines Metro Opera.  »

07 Jul 2013

La Rondine, Royal Opera House

La Rondine isn’t Puccini’s finest moment. As drama it’s a retread of La Bohème. The music resembles out-takes from Madama Butterfly. What holds it together is Magda. »

05 Jul 2013

Great Wagner Conductors from DG

As a companion to their excellent Great Wagner Singers boxed set compiled and released in celebration of the Wagner Bicentennial, Deutsche Grammophon have also released Great Wagner Conductors, a selection of orchestral music conducted by five of the most iconic Wagnerian conductors of the Twentieth Century, extracted from Deutsche Grammophon’s extensive archives.  »

02 Jul 2013

Rameau Hippolyte et Aricie, Glyndebourne

Glyndebourne revitalizes Rameau's Hippolyte et Aricie. Baroque tastes were extravagant. Louis XIV, Le Roi Soleil, and his successor Louis XV, epitomized the aesthetic: audacity, not gentility, vigour, not timidity.  »

30 Jun 2013

Bizet : Pearl Fishers, Opera Holland Park London

Bizet’s The Pearl Fishers confirms the composer’s deftness in penning a good tune and spinning a faux-Oriental orchestral fabric. But, opera is more than simply a catchy melody or two, and if it wasn’t for the tenor-baritone friendship duet ‘Au Fond du Temple Saint’, the opera’s one-dimensional characters and dramatic stiltedness would probably see it consigned to the drawer marked ‘lesser-known, justly neglected’. »

29 Jun 2013

Thomas Hampson Simon Boccanegra, Royal Opera House London

Thomas Hampson's first Simon Boccanegra at the Royal Opera House makes this revival of Verdi's great opera worthwhile. It's a role which suits a singer of Hampson's intelligence.  »

28 Jun 2013

Händel’s First Opera at the Boston Early Music Festival

We’ll never know exactly how Handel’s first opera, Almira, Königin von Castilien, appeared at its 1705 premiere in Hamburg. »

24 Jun 2013

Hänsel und Gretel - Garsington Opera at Wormsley

Engelbert Humperdinck and his sister Adelheid Wette rather softened the story when they came to write the opera Hansel und Gretel, though sufficient undercurrents remain to allow a director scope for exploration of the more psychological aspects of the story.  »

22 Jun 2013

Britten’s Gloriana, Covent Garden

A glance at the ROH programme which accompanies this new production of Benjamin Britten’s Gloriana reveals a striking number of ‘role débuts’; evidence that, since its Coronation-commissioned revelation in 1953, this opera has had a relatively quiet 60 years - hyperbolically announced as ‘one of the great disasters of operatic history’ at its troubled opening.  »

21 Jun 2013

Great Wagner Singers from DG

There could be no greater gift to the Wagnerian celebrating the Master’s Bicentennial than this compilation from Deutsche Grammophon, aptly entitled Great Wagner Singers.  »

20 Jun 2013

St. Louis: Winner and Still Champion

With the world premiere of Champion, the enterprising Opera Theatre of Saint Louis set the bar very high indeed for the summer festival season. »

20 Jun 2013

James Melton: The Tenor of His Times

Those of us of a certain age have fond memories of James Melton, who entertained our parents starting in the 1930s and the rest of us in the 1940s and beyond on recordings, the radio, and films.  »

18 Jun 2013

The Importance of Being Earnest, Covent Garden

The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere. »

17 Jun 2013

Death in Venice by ENO

‘Beauty is the one form of spirituality that we experience through the senses.’ In Thomas Mann’s, Death in Venice, Plato’s axiom stirs the hopes of the aging, intellectually stale poet, Gustav von Aschenbach, that he may rekindle his creativity.  »

16 Jun 2013

Adding Movie Magic to The Magic Flute

What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?  »

14 Jun 2013

Madama Butterfly, Opera Holland Park

There is a sense in which it all began in London, Puccini having been seized in 1900 with the idea of an opera on this subject after watching David Belasco’s play here.  »

13 Jun 2013

An Evening of Zarzuela and Latin American Music at Los Angeles Opera

The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra. »

12 Jun 2013

Così fan tutte in San Francisco

Tucked away somewhere in the San Francisco Opera warehouse was an old John Cox production of Così fan tutte from Monte Carlo. Well, not that old by current standards at San Francisco Opera.  »