Recently in Reviews
21 Nov 2012
Wozzeck Wozzeck, Wozzeck: The Los Angeles Philharmonic’s Laureate
Conductor, Esa-Pekka Salonen, now Principal Conductor and Artistic Advisor to the London’ Philharmonia Orchestra, is touring the United States with a program that includes three staged performances of Alban Berg’s opera, Wozzeck. »
21 Nov 2012
The Nash Ensemble's series at the Wigmore Hall, "Dreamer of Dreams" continued its survey of British music in the first half of the 20th century with an intriguing programme. Many underlying themes, and thoughtful juxtapositions. »
18 Nov 2012
Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment. »
16 Nov 2012
Operatic train wreck in San Francisco, hopes crushed for 3000 opera-goers, impresario’s grand scheme derailed. »
16 Nov 2012
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently. »
16 Nov 2012
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan. »
16 Nov 2012
One of the main reasons for interest in the Royal Opera’s latest revival of Donizetti’s L’elisir d’amore was that tenor Roberto Alagna had chosen to return to the role of Nemorino. Though he had sung Nemorino earlier in his career, he had never sung the role at Covent Garden. The other cast members were of a high order too, with Alexandra Kurzak as Adina, Ambrogio Maestri as Dulcamara and Fabio Capitanucci as Belcore. So plenty of reasons for seeing the revival, which I caught on opening night 13 November 2012.
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16 Nov 2012
The Wigmore Hall Celebration of Mendelssohn Song series culminated in a recital of works by Felix and Fanny Mendelssohn and by Robert and Clara Schumann. The programme was very well chosen because Felix, Fanny, Robert and Clara knew each other.. »
14 Nov 2012
At this famous bastion of intellect the biggest drama was the parking. Though the football stadium may have been stuffed, Zellerbach Hall was not. »
13 Nov 2012
In its current production of Simon Boccanegra Lyric Opera of Chicago draws on vocal strengths as well as musical and stage direction that do honor to Giuseppe Verdi’s masterpiece of political and emotional intrigue in fourteenth-century Genoa. »
10 Nov 2012
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles. »
10 Nov 2012
Wexford Opera’s 2012 trio of rarities, seen on the opening three nights of the Festival, spanned a mere twenty years but offered operatic idioms ranging from verismo to pantomime, operetta to Wagnerian love-death apotheosis. »
10 Nov 2012
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano. »
10 Nov 2012
Italo Montemezzi’s great “lost” epic opera, La Nave, was heard on 31 October for the first time since 1938, leaving an enthusiastic New York audience wondering why on earth it had been neglected for so long. »
10 Nov 2012
Marking Oliver Knussen’s sixtieth birthday came a BBC Total Immersion
weekend at the Barbican: a double-bill of Knussen’s two operas written in
collaboration with Maurice Sendak, Where the Wild Things Are and
Higgledy Piggledy Pop! on Saturday, followed by a day of two chamber
concerts, a film, and an orchestral concert conducted by the composer himself
on Sunday. »
10 Nov 2012
After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain. »
01 Nov 2012
An intriguing blend of old and new marked the tenth anniversary of the
British vocal group, Exaudi, juxtaposing the adventurous intricacies and
affectations of the late-sixteenth century with the virtuosic refinements of
today’s avant garde. »
28 Oct 2012
Every major opera company needs a production of La bohème. It is one of the operas which has the potential to attract everyone, the work which will tempt the occasional opera goer into the theatre. »
27 Oct 2012
The opening images of Richard Strauss’s Elektra in its new production at Lyric Opera of Chicago establish a tension persisting until the final chords of the score indeed signal a resolution of this familial tragedy. »
27 Oct 2012
Netherlands Opera is surely to be numbered among the world’s most adventurous international companies. »
27 Oct 2012
Exquisite pianissimos, sumptuous climaxes, gigantic fortes, insistent horns, sugary winds, tremulous brass, blasting trumpets, whispering strings, pulsating oboes, more gigantic fortes, even more sumptuous climaxes. »
24 Oct 2012
Parsifal, with its heavy dose of religiosity and strains of racial supremacy, remains at once the most mystical and historically burdened of Wagner’s operas. »
23 Oct 2012
Some especially puerile, needlessly irritating, marketing, involving
pictures of condom packets — oddly chosen in so many ways, since few
people find contraceptive especially erotic, and Don Giovanni would seem an
unlikely candidate to have employed them — had attended the run-up to this
revival of Rufus Norris’s production of Don Giovanni. »
21 Oct 2012
Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.
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20 Oct 2012
An opera called Where the Wild Things Are based on a libretto by Maurice Sendak may sound like a mere treat for children, but when paired with the music of Oliver Knussen, as performed by the Los Angeles Philharmonic, in a new and unique production by Netia Jones, it makes for a forty minute joy ride into fantasy land for adults as well. »
19 Oct 2012
What might a Woody Allen treatment involving opera read like? Tosca, third act — the firing squad lets loose shrapnel from a malfunctioning prop carbine, verily cutting into the Cavaradossi. »
19 Oct 2012
The role of Lucia in Donizetti’s Lucia di Lammermoor was written for Fanny Tacchinardi Persiani who lived from 1812 to 1867. »
18 Oct 2012
The first of four concerts in Jonathan Biss’s ‘Schumann: Under the influence’ series at the Wigmore Hall was a focused, intelligent and, at times, sensuous and illuminating, evening of music-making. »
17 Oct 2012
Labelled a “parable of oppression” by the late musicologist, Philip Brett, Britten’s provincial comedy, Albert Herring, is a tough nut to crack. »
12 Oct 2012
Frankfurt Opera’s adventurous season had a notable beginning with a luminous staging of Samuel Barber’s seldom heard Vanessa. »
12 Oct 2012
Forget Herman Melville, forget struggling with deep human complexities. At least those that possessed nineteenth century Americans. »
10 Oct 2012
Lucky Angeleno opera lovers! In anticipation of the Giuseppe Verdi’s bicentennial (it will occur in 2013) Los Angeles Opera treated its patrons to a unique and musically thrilling performance of I Due Foscari, the sixth of the composer’s twenty-six operas. »
10 Oct 2012
‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme. »
09 Oct 2012
In our era of minimal cultural restraints Don Giovanni has been the opera of choice for presenting dissolution on stage. Rape, oral sex, drug use and urination have been portrayed to Mozart's melodies. »
09 Oct 2012
Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley. »
05 Oct 2012
The first performances of Stockhausen’s Mittwoch — the world premiere took place on Mittwoch 22 August, the composer’s birthday, whilst I attended the last of four performances on Samstag — could hardly have failed to be an ‘event’ of the highest order: the last of the Licht cycle, in duration roughly twice the length of Wagner’s Ring, to receive its first full performance, though it was the sixth of the seven days to be composed. »
05 Oct 2012
“Two classic French comedies, one wardrobe…” was Bampton Classical Opera’s billing for this amusing double bill and, with typically wry wit, director Jeremy Gray duly placed a shabby-chic armoire centre-stage and made it the location of some Cherubino-Countess-style confusions and Goldoni-esque farce. »
05 Oct 2012
Frank Bridge (1879-1941) was a professional violinist and violist, a talented conductor, a versatile composer and skilled teacher; yet he remains something of an enigma and his music relatively unknown. »
05 Oct 2012
During the years from 1890 to 1940, the so-called ‘land without music’ witnessed a remarkable outpouring of chamber and instrumental music. »
05 Oct 2012
W.A. Mozart, despite a historically antagonistic relationship with his city of birth, retains an omnipresence in Salzburg that emerges in full force with each iteration of the illustrious summer festival. »
05 Oct 2012
Cleopatra, one of few female seductresses in operatic history to emerge not only alive but empowered in the final act, is a fitting role for Cecilia Bartoli in her first season as artistic director of the Salzburg Whitsun Festival. »
04 Oct 2012
The Wigmore Hall 2012-3 season (see link below) started with a gala of glamour. Dmitri Hvorostovsky attracts patrons in jewels and designer gowns. »
04 Oct 2012
The ENO gave the British premiere of Bohuslav Martinů's Julietta many years ago, so this new production was eagerly awaited. But what will audiences new to Martinů get from this production? It's a myth that the English language makes opera more accessible. That just means audiences focus on words, rather than really listening or understanding. »
![Full cast of The Importance of Being Earnest [Photo © ROH / Stephen Cummiskey]](http://www.operatoday.com/Being_Earnest_02.gif)