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Elsewhere

A Conversation with Sir Nicholas Jackson

With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’


OPERA TODAY ARCHIVES »

Reviews

Photo by Martha Benedict
29 Apr 2016

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.  »

Recently in Reviews

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04 Apr 2011

Literalism and Truth: Fidelio, Royal Opera

Proof that literalism isn’t truth: Jürgen Flimm’s production of Beethoven’s Fidelio, first heard at the Met and at the Royal Opera House, London in 2007. »

03 Apr 2011

Florian Boesch, Wigmore Hall

Florian Boesch and Malcolm Martineau gave the finest recital so far in the Wigmore Hall’s decade by decade series of German Song.  »

03 Apr 2011

Tosca, Palm Beach

Victorien Sardou wrote the melodrama La Tosca, a play subject to all sorts of incidental drama and off-stage intrigue, for Sarah Bernhardt.  »

29 Mar 2011

Il ritorno d’Ulisse in patria, ENO

Benedict Andrews’ thought-provoking new production of Claudio Monteverdi’s Il ritorno d’Ulisse in patria, the latest of English National Opera’s innovative stagings at the Young Vic, juxtaposes images of unremitting modernity with a tapestry of archaic aural colours, all placed within an antique frame which resonates with universal emotions. »

28 Mar 2011

Le Comte Ory, Metropolitan Opera

Rossini’s penultimate stage work, Le Comte Ory, belongs to the tradition of sexy scoundrel operas, along with such works as Don Giovanni, Zampa, Fra Diavolo, Barbe-Bleu, Les Brigands and Threepenny Opera.  »

27 Mar 2011

Orlando Furioso, London

Adapting an extended literary work for the stage remains a challenge today and was no less so in the baroque era. Ariosto’s enormously long poem Orlando Furioso was extremely popular and inevitably his highly coloured characters found their way onto the operatic stage. »

24 Mar 2011

Sarasota Opera Winter Festival 2011

Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell. »

23 Mar 2011

The Turn of the Screw at LA Opera

An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?  »

23 Mar 2011

Machover, Death and the Powers

This is an opera written with a cannon and a feather. There is sensory overload—an overload of sensory overload: lights that shine into your face in the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds that invade you from every direction; dancing patterns of light that may resolve into huge words or huge faces; a great chandelier-harp that sometimes descends to be played, a strumming like the sounds of the sirens in Plato’s parable of the concentric crystalline spheres. »

23 Mar 2011

Philip Glass’s Orphée

With voices of doom predicting the end of the CD format — supposedly to be replaced by downloading — the ancillary art of CD packaging also faces a grim future.  »

18 Mar 2011

Bellini’s I Puritani in Bologna

Vincenzo Bellini’s operas are pure bel canto, with beautiful singing placed above all other considerations.  »

18 Mar 2011

Roméo et Juliette, New York

Is Guy Joosten’s staging of Roméo et Juliette the best-looking production in the Met’s current repertory or what?  »

16 Mar 2011

Magnificent Mahler by Shanghai Symphony

It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.  »

15 Mar 2011

The Queen of Spades, New York

Tchaikovsky’s Pikovaia Dama (The Queen of Spades) is the longest Mad Scene in opera. Ghermann is already half nuts when we meet him in the park in St. Petersburg on a windy day, and he gets crazier from scene to scene.  »

15 Mar 2011

Aida, London

Strict courtly hierarchies and the repressed formality of ritual juxtaposed with violent sexual jealousy and lurid erotic excess … a stage-world more suited to the Straussian insalubrity of Salomé than to the epic grandeur of Verdi’s Aida, perhaps?  »

15 Mar 2011

Lucia, New York

It costs a lot to look cheap. And it takes a village to raise a child. In the case of the Metropolitan Opera’s current revival of Donizetti’s Lucia di Lammermoor, it takes a lot of talent to produce underwhelming opera.  »

12 Mar 2011

Gheorghiu and Domingo in Giordano’s Fedora

A major label release of a new studio recording of a full opera — with the traditional booklet/libretto — wanders onto the scene almost like a lost and lonely unicorn.  »

10 Mar 2011

Cecilia Bartoli in Halévy’s Clari

A key measure of operatic star power is the ability to get an obscure work staged — think Joan Sutherland and her run in Massenet’s Esclarmonde, an outlandish wallow in orchestral excess ladled over a libretto of unfathomable goofiness.  »

10 Mar 2011

La Traviata, Phoenix

Francesco Maria Piave’s Italian libretto for Giuseppe Verdi’s opera La Traviata is based on the French play La Dame aux Camélias.  »

10 Mar 2011

Two Troubled Girls in Paris

Commanding soprano performances of put-upon heroines securely anchored two recent evenings at the Bastille Opera House.  »

09 Mar 2011

Déodat De Séverac: Le Coeur du Moulin

Interesting recordings continue to be produced in the classical music business by smaller labels with particular niche markets. For the label Timpani, their specialty tends to be rarer French repertoire.  »

09 Mar 2011

Luca Pisaroni at the Wigmore Hall, London

After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital. »

06 Mar 2011

Dialogues des Carmélites, Guildhall, London

Francis Poulenc’s Dialogues des Carmélites is an unusual opera, but much sensitive musical thinking has gone into this production at the Guildhall School of Music and Drama, London. »

06 Mar 2011

L’Africaine, OONY

Eugène Scribe and Giacomo Meyerbeer were in the business of creating proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe. »

06 Mar 2011

Gilbert & Sullivan: The Mikado

The front leg of the grand piano may rest at a rather precarious angle, and the out-sized martini glass lean a trifle askew, but Jonathan Miller’s 1986 production of Gilbert & Sullivan’s The Mikado wears its twenty-five years lightly — as do Stefanos Lazaridis’ eye-wateringly white, gleaming sets.  »

06 Mar 2011

Roderick Williams, Wigmore Hall

Relaxed, confident and composed, baritone Roderick Williams, accompanied by pianist Helmut Deutsch, gave a polished and performance before a warmly appreciative Wigmore Hall audience, performing an interesting selection of songs by Wolf, Korngold, Mahler and Schumann. »

06 Mar 2011

Così fan tutte, Palm Beach

Little is known about the extent to which Mozart and Da Ponte collaborated on the libretto for Così fan tutte.  »

06 Mar 2011

Schubert Transcribed, Wigmore Hall

Schubert, but not quite as we know him. You can always rely on the Wigmore Hall to promote adventurous recitals.  »

06 Mar 2011

Ariadne auf Naxos, Bordeaux

Ariadne on Naxos, or you could call it Bacchus á Bordeaux. It was an orgy of art. »

05 Mar 2011

Roméo et Juliette, Philadelphia

Neither the music nor the libretto of Charles Gounod’s Roméo et Juliette is quite compelling enough to have made it a popular standard. »

27 Feb 2011

Iphigénie en Tauride, New York

Gluck’s operas are part of a continuum, a tradition of French vocal declamation (as opposed to the Italian school of flights of elegant, open-throated vocal fantasy) that can be traced to him from Lully and Rameau, and then from Gluck through certain works of Mozart and Gluck’s pupil, Salieri to the operas of Spontini, Berlioz and Wagner. »

23 Feb 2011

György Kurtág Kafka Fragments, Banse and Keller

György Kurtág's Kafka Fragments, op 24, is a masterpiece, one of the seminal works of the late 20th century. »

22 Feb 2011

The Bartered Bride, New York

In the mid-nineteenth century, every nationality that did not possess a national state felt a need to prove itself, to square its shoulders and claim nationhood with all the identifying marks of a nation: a language with a literature, a tricolor flag, a national anthem extolling the people’s stalwart character and the country’s landscape (inevitably the loveliest in the world), a national theater and a national opera to be performed there. »

21 Feb 2011

Der zerbrochene Krug / Der Zwerg

Der zerbrochene Krug is a very short opera by Viktor Ullmann, based on a comedy by Kleist, concerning the fall of man. »

20 Feb 2011

Thomas Arne, Bampton Classical Opera

The first performance of Thomas Arne’s masque Alfred took place at Clivedon House on the Thames near Maidenhead, in August 1740. »

20 Feb 2011

Parsifal, ENO

This production retains a special place in my heart: its first outing in 1999 was my first Parsifal in the theatre. Saving up my student pennies, I made the journey not once but twice from Cambridge to London, was mightily impressed the first time and a little irritated the second.  »

18 Feb 2011

Anna Nicole, London

From the sublime (Parsifal, the night before) to the not-even-ridiculous.  »

17 Feb 2011

Opera Colorado’s ‘mermaid’ tremendous

The story is ages old, and every culture has a version of it: the mythic princess of an underwater realm longs for the love of a mortal man. »

15 Feb 2011

Werther in Lyon

Massenet tells us that his Werther is 23 years old, that Charlotte is 20 years old. Albert is 25 and Sophie is but 15. Just now the Lyon Opera assembled just such a cast. »

15 Feb 2011

The Chill of Grace: A Winter Weekend at COC

At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.  »

12 Feb 2011

Parsifal in Brussels

Romeo Castellucci is the cat’s whisker of current avant-garde theater directors. Thus it has simply been a matter of time before he would be invited to the Monnaie to stage an opera.  »

11 Feb 2011

Egyptian Queen in Parisian Rubble

Although Paris Opéra's Dream Team of soprano Natalie Dessay and director Laurent Pelly promised much for the SRO run of Giulio Cesare in Egitto, for the moment we will have to keep dreaming of what might have been.  »

08 Feb 2011

Don Pasquale, New York

Witty and airy as an after-dinner anecdote over biscuits and cognac, Don Pasquale (1844) is, unlikely as it may seem, almost the last opera Donizetti completed before his descent into the madness of tertiary syphilis. »

07 Feb 2011

Turandot, Florida Grand Opera

In 2010, Florida Grand Opera held a gala to honor Robert Heuer on his 25th anniversary as general director. »

07 Feb 2011

Nixon in China, New York

Preparing for the Met premier of Nixon in China, I resolved to forget—or place on hold—everything I remembered, or thought I remembered, about the real persons who are characters in this opera,  »

07 Feb 2011

Turandot, San Diego

The original story that formed the basis for the libretto of Puccini’s opera Turandot told of a Mongolian princess who insisted that any prospective husband endeavor to win a wrestling match with her.  »