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Elsewhere

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion.

Two falls out of three for Britten in Seattle Screw

The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind. What evil lurks here? Can these people be saved? Do we care?

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)

Tosca in San Francisco

The story was bigger than its actors, the Tosca ritual was ignored. It wasn’t a Tosca for the ages though maybe it was (San Francisco’s previous Tosca production hung around for 95 years). P.S. It was an evening of powerful theater, and incidentally it was really good opera.

Fine performances in uneven War Requiem at the Concertgebouw

At the very least, that vehement, pacifist indictment against militarism, Benjamin Britten’s War Requiem, should leave the audience shaking a little. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

The Tallis Scholars at Cadogan Hall

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. There was little to ruffle anyone’s feathers here, little in the way of overt ‘interpretation’ – certainly in a modern sense – but ample opportunity to appreciate the mastery on offer in this music, its remoteness from many of our present concerns, and some fine singing.

Dido and Aeneas: Academy of Ancient Music

“Remember me, but ah! forget my fate.” Well, the spectral Queen of Carthage atop the poppy-strewn sarcophagus wasn’t quite yet “laid in earth”, but the act of remembering, and remembrance, duly began during the first part of this final instalment of the Academy of Ancient Music’s Purcell trilogy at the Barbican Hall.

Poignantly human – Die Zauberflöte, La Monnaie

Mozart Die Zauberflöte (The Magic Flute) at La Monnaie /De Munt, Brussels, conducted by Antonello Manacorda, directed by Romeo Castellucci. Part allegory, part Singspeile, and very much a morality play, Die Zauberflöte is not conventional opera in the late 19th century style. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean.

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Powerful Monodramas: Zender, Manoury and Schoenberg

The concept of the monologue in opera has existed since the birth of opera itself, but when we come to monodramas - with the exception of Rousseau’s Pygmalion (1762) - we are looking at something that originated at the beginning of the twentieth century.

ENO's Salome both intrigues and bewilders

Femme fatale, femme nouvelle, she-devil: the personification of patriarchal castration-anxiety and misogynistic terror of female desire.

In the Company of Heaven: The Cardinall's Musick at Wigmore Hall

Palestrina led from the front, literally and figuratively, in this performance at Wigmore Hall which placed devotion to the saints at its heart, with Saints Peter, Paul, Catherine of Alexandria, Bartholomew and the Virgin Mary all musically honoured by The Cardinall’s Musick and their director Andrew Carwood.

Roberto Devereux in San Francisco

Opera’s triple crown, Donizetti’s tragic queens — Anna Bolena who was beheaded by her husband Henry VIII, their daughter Elizabeth I who beheaded her rival Mary, Queen of Scots and who executed her lover Roberto Devereux.

O18: Queens Tries Royally Hard

Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.

O18 Magical Mystery Tour: Glass Handel

How to begin to quantify the wonderment stirred in my soul by Opera Philadelphia’s sensational achievement that is Glass Handel?

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

A lunchtime feast of English song: Lucy Crowe and Joseph Middleton at Wigmore Hall

The September sunshine that warmed Wigmore Street during Monday’s lunch-hour created the perfect ambience for this thoughtfully compiled programme of seventeenth- and twentieth-century English song presented by soprano Lucy Crowe and pianist Joseph Middleton at Wigmore Hall.

O18: Mad About Lucia

Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

O18 Poulenc Evening: Moins C’est Plus

In Opera Philadelphia’s re-imagined La voix humaine, diva Patricia Racette had a tough “act” to follow ...


OPERA TODAY ARCHIVES »

Reviews

18 Oct 2018

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion. »

Recently in Reviews

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18 Nov 2013

The Rape of Lucretia, Glyndebourne Touring Opera

‘If she is adulterous, why is she praised? If chaste, why was she put to death?’  »

17 Nov 2013

The Barber of Seville in San Francisco

San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece. »

11 Nov 2013

Britten’s Atmospheric War Requiem, London

On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.  »

09 Nov 2013

Barbican Britten

The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.  »

08 Nov 2013

Exaudi: O tenebroso giorno — Gesualdo then and now

One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.  »

08 Nov 2013

The Magic Flute, ENO, London

Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.  »

07 Nov 2013

Madama Butterfly, Chicago

Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.  »

07 Nov 2013

The (Amazing) Nose

Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season. »

05 Nov 2013

Death in Venice, Festival of Britten

There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.  »

05 Nov 2013

“T” as in “Terrific Toronto”

With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season. »

02 Nov 2013

Two Boys at the Brave New Met

Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.  »

01 Nov 2013

Wozzeck, Royal Opera

The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).  »

31 Oct 2013

Wexford Festival 2013

At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.  »

29 Oct 2013

Florilegium, Wigmore Hall

At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’. »

24 Oct 2013

Der Fliegende Holländer in San Francisco

Train wrecks are fascinating events, huge forces collide, brutal destruction results. Investigators rush to the scene to explain how and why it happened. »

23 Oct 2013

Mark-Anthony Turnage, Greek

After the bitter disappointment of  »

23 Oct 2013

Armide, Amsterdam

There is a cornucopia of ideas on display in Gluck’s Armide at Amsterdam’s Het Muziektheater, but sadly only a few of them seemed to serve the piece.  »

23 Oct 2013

London’s Vespers Ring the Right Bells

Even before it opened, Royal Opera’s Les vêpres siciliennes was the must-see production of the season. »

23 Oct 2013

Verdi’s Otello at Lyric Opera of Chicago

Lyric Opera of Chicago has opened the season with a revival of its 2001 production of Giuseppe Verdi’s Otello.  »

23 Oct 2013

Angel Blue, Wigmore Hall

Having impressed UK audiences in La Boheme (for ENO) and American Lulu (for the Opera Group/Scottish Opera),  »

22 Oct 2013

Madame Butterfly at ENO

First seen in 2005, and since feted in London (several times), New York and Lithuania, Anthony Minghella’s cinematic production of Madame Butterfly remains a breath-taking visual banquet.  »

15 Oct 2013

Fun Loving H.M.S. Pinafore Opens Arizona Opera

The star of the show was the agile Robert Orth as Sir Joseph Porter, the First Lord of the Admiralty. A fine operatic baritone, Orth’s patter was machine gun fast, crisp, and completely understandable.  »

13 Oct 2013

Intriguing Duo in San Francisco

Venerable San Francisco Opera kicked off its fall season with a wholly pleasing revival of a landmark production, complemented by an engrossing world premiere.  »

13 Oct 2013

The Tragedy of Carmen, Syracuse Opera

Carmen Lite: Singing shines in Syracuse Opera’s pocket-sized The Tragedy of Carmen »

13 Oct 2013

Carmen, Yet Again

No matter how or where Carmen is produced, or by whom directed, costumed and performed, its promise of free wheeling sex and exciting rhythmic music, has made it one of the most popular operas in the world. »

13 Oct 2013

L’Arpeggiata: Mediterraneo

What do you get if you cross the sultry folk melodies of Greece, Spain and Italy with the formal repetitions of Baroque instrumental structures, and add a dash of the shady timbres and rhythmic litheness of jazz?  »

13 Oct 2013

Toby Spence, Wigmore Hall

‘All Life death does end and each day dies with sleep.’ The sentiments of the closing lines of Gerald Manley Hopkins’ sonnet, ‘No worst, there is none.  »

13 Oct 2013

Benjamin Britten: War Requiem

Britten’s War Requiem is one of the defining artistic works of the twentieth century. Consummate artwork, religious ritual and prayer, ceremonial commemoration, ideological political statement, public expression of mourning, and private avowal of faith,  »

11 Oct 2013

The Coronation of Poppea, ETO

James Conway’s production of Monteverdi’s final masterpiece, L’incoronazione di Poppea was  »

10 Oct 2013

Eugene Onegin disappoints

The company’s new production of the Tchaikovsky masterpiece is cramped and cheap, leaving the listener longing for a return of the 1997 version »

09 Oct 2013

Falstaff in San Francisco

A rambunctious ensemble on the stage and in the pit. A star conductor. Falstaff showed its stuff as one of the repertory’s greatest masterpieces.  »

09 Oct 2013

Verdi’s Macbeth in Concert at the Chicago Symphony Orchestra

Performances of Verdi’s Macbeth take shape and leave an overall impression from both individual and collective emphases.  »

09 Oct 2013

Robert Schumann: A Life in Song

Miah Persson and Florian Boesch sang Schumann with Malcolm Martineau at the Wigmore Hall for the latest of his Songlives series.  »

07 Oct 2013

Roberto Devereux, WNO

For the final instalment of Welsh National Opera’s Tudor trilogy, Donizetti’s Roberto Devereux, director  »

07 Oct 2013

Maria Stuarda, WNO

The second installment of Welsh National Opera’s Tudor trilogy, Donizetti’s Maria Stuarda saw  »

07 Oct 2013

Giasone, ETO

Once again, one can only applaud English Touring Opera’s sense of adventure — and commitment. Its autumn season comprises three Venetian operas: L’incoronazione di Poppea, Giasone, and Agrippina, all in translation.  »

07 Oct 2013

Die Fledermaus, ENO

‘Chacun à son goût!’ cries the inebriated Prince Orlovsky, invigorated by champagne and high-living. An indifferent ‘each to his own’?  »

06 Oct 2013

Stephen King in San Francisco

Coincidentally last Friday night was the closing night of San Francisco Opera’s Dolores Claiborne and the opening night of Ray of Light Theatre’s Carrie The Musical. »

05 Oct 2013

Fidelio, ENO

More than two centuries on, Fidelio may well remain the most misunderstood opera of all. »

05 Oct 2013

Anna Bolena, Welsh National Opera

Welsh National Opera's new production of Donizetti's Anna Bolena is the first part of their trilogy of Donizetti's Tudor operas, Anna Bolena, Maria Stuarda and Roberto Devereux.  »

30 Sep 2013

Peter Grimes, Vladimir Jurowski

Vladimir Jurowski conducted a fascinating Peter Grimes with the London Philharmonic Orchestra at the Royal Festival Hall. Fascinating, because Jurowski finds things in Britten other conductors don't get in the first place. Jurowski approaches Britten as a composer, without the usual baggage of Britishness and Brittenish.  »

30 Sep 2013

La Traviata, Hamburg

Johannes Erath's production of Verdi's La Traviata opened at the Staatsoper Hamburg in February this year, with Ailyn Perez in the title role. Perez returned with Stephen Costello as Alfredo for three performances in September 2013  »

29 Sep 2013

Elektra, Royal Opera

Charles Edwards’s production of Elektra, first seen in 2003, »

29 Sep 2013

Die Schuldigkeit Des Ersten Gebots

Last week I enjoyed the opportunity to see Bampton Classical Opera’s light-hearted, witty production of Mozart’s earliest opera — La finta semplice — a work which, despite lacking the melodic variety and texture dynamism of the later operas, is still a remarkably accomplished achievement for a boy of merely twelve years of age.  »

29 Sep 2013

Lyric Opera of Chicago Introduces its Season

In its annual concert presented to the city at Millennium Park, Lyric Opera of Chicago introduced its 2013-14 season on a recent weekend evening with a program of selections featuring several present, past, and future stars of the company.  »

28 Sep 2013

Matthias Goerne: Hugo Wolf and Franz Liszt

Matthias Goerne and Andreas Haefliger’s recital at the Wigmore Hall was eagerly anticipated. Goerne and Haefliger are a Dream Team, who have worked together for over 15 years. »

26 Sep 2013

Schubert Songs with Harp: Matthias Goerne, Wigmore Hall

In the first of his two recitals at the Wigmore Hall this week, Matthias Goerne sang Schubert, but Schubert with a difference.  »

26 Sep 2013

Opera Theater Around San Francisco

Opera in San Francisco is what occurs at the War Memorial Opera House. Every so often though you can think outside the box and find some interesting performances nearby. »

24 Sep 2013

Olga Neuwirth, American Lulu

I was a little taken aback by the reaction I received upon mentioning that I was looking forward to seeing American Lulu.  »

22 Sep 2013

Dolores Claiborne in San Francisco

Dolores Claiborne, the heroine of the book Dolores Claiborne (1992), is a figment of the imagination of prolific pulp horror novelist Stephen King.  »

22 Sep 2013

Mefistofele in San Francisco

Here is the exception. The revival of an old opera production need not always be perceived as an expedient (read cheap) solution to getting a season of opera put together, but may pass instead as an artistically thoughtful choice.  »

22 Sep 2013

La finta semplice, Bampton Classical Opera

Mozart cut his operatic teeth on La finta semplice, as a twelve-year-old prodigy being paraded before the Viennese court by his ambitious father, Leopold.  »

19 Sep 2013

Schubert : Ian Bostridge at the Wigmore Hall

Scarcely had Julius Drake seated himself, when the piano’s turbulent stream of relentless semiquavers precipitously announced the opening of Schubert’s ‘Der Strom’ (The river), the opening song in Ian Bostridge’s recital series, Schubert Lieder.  »

18 Sep 2013

Le nozze di Figaro, Royal Opera House

Although this is their fifth outing, Tanya McCallin’s sets for David McVicar’s Le Nozze di Figaro remain a sumptuous feast for the eyes. »