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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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05 Mar 2012

Paris: Tenors Trump Befuddled Productions

Two recent outings at the Paris Opéra might have been subtitled: “Max Bialystock is Alive and Well and Living in Paris.” »

05 Mar 2012

Zurich’s Magnificent ‘Other’ Moor

Right to the musical ‘score’ board: Zurich Opera stared down the mighty challenge posed by Rossini’s Otello ossia il moro di Venezia, and knocked it out of the ballpark. »

04 Mar 2012

Mazeppa in Monte-Carlo

Tchaikovsky’s Mazeppa is not everyday repertory, nonetheless here in the south of France the Monaco production follows fairly closely (a couple of years) on the heels of the Peter Stein Mazeppa in Lyon. »

04 Mar 2012

Previn conducts the LSO in the 1970s

André Previn’s leadership of the London Symphony Orchestra in the early 1970s resulted in some highly regarded recordings, including one of the classic accounts of Rachmaninov’s Second Symphony.  »

01 Mar 2012

A Midsummer Night’s Dream, GSMD

There were high hopes for the 2012 debut production of A Midummer Night’s Dream by the Guildhall School of Music and Drama’s Opera programme . »

01 Mar 2012

Giuseppe Verdi: Aida

A perennial favorite among opera enthusiasts since its 1871 premiere in Cairo, Aida remains a popular work, and its strengths are apparent in the recent Decca DVD from the Metropolitan Opera, New York.  »

29 Feb 2012

Simon Boccanegra, LA

Sometime everything seems to go right. Just as the Los Angeles Opera Company did last fall, it opened its spring season with a baritonal eponymous opera; this time, Giuseppe Verdi’s Simon Boccanegra.  »

28 Feb 2012

Rusalka, Royal Opera

It is a truth universally acknowledged that an interesting opera production will be met with incomprehension and lazy, philistine hostility by vast swathes of the audience in many, perhaps most, of the world’s ‘major’ houses, a truth that renders one all the more grateful for the Royal Opera showing the courage to stage this new — to London — production of Rusalka. »

28 Feb 2012

Beatrice and Benedict at the Wales Millennium Centre

Welsh National Opera presented a rather undercooked account of Berlioz’s tricky opera, in a revival of Elijah Moshinsky’s classic production »

27 Feb 2012

Mahler: Symphony No. 9

Based on performances given on 2 and 3 March 2011 (at the Barbican, London), Valery Gergiev’s recording of Mahler’s Ninth Symphony is an engaging and persuasive reading of the score.  »

27 Feb 2012

John Adams — Death of Klinghoffer, London

John Adams’s The Death of Klinghoffer is on at the English National Opera, London. »

27 Feb 2012

“Figures from the Antique”, Wigmore Hall

Modern and historic responses to classical tragedy and myth formed the unifying focus for this latest stage of Ian Bostridge’s year-long ‘Ancient and Modern’ project at the Wigmore Hall.  »

24 Feb 2012

Moby-Dick, San Diego

When Captain Ahab sailed the Pequod into San Diego this week, he brought a new American opera with him. Jake Heggie’s Moby-Dick is a stunning work likely to have universal appeal.  »

24 Feb 2012

Fleming in Strauss’s Capriccio

Is there somewhere in Italian opera repertory where, as a comic interlude, the portentous clichés of German opera come in for a skewering amid the luscious sunshine of Italianate lyricism?  »

24 Feb 2012

Michael Spyres — A Fool for Love

Tenor Michael Spyres’ star is on the rise and his highly enjoyable debut recital disc offers ample proof as to why. »

24 Feb 2012

La clemenza di Tito — Barbican

The last opera seria — Mozart’s late, austere masterpiece, and vividly brought it to life. »

24 Feb 2012

Amsterdam’s Invisible, Risible Kitezh

A breath-taking stage picture at curtain rise of Netherlands Opera's The Legend of the Invisible City of Kitezh and the Maiden Fevronia indeed made us involuntarily gasp as one.  »

20 Feb 2012

The Veronica Dunne International Singing Competition: Showcase Concert

Inaugurated in 1995, the Veronica Dunne International Singing Competition is a triennial competition, held in the National Concert Hall in Dublin, which takes place over a week in January.  »

20 Feb 2012

Berlioz’s Roméo et Juliette — Opera with few words

Mark Elder and the Orchestra of the Age of Enlightenment brought Berlioz’s Roméo et Juliette to the Royal Festrival Hall. »

20 Feb 2012

La Traviata, NYCO

In his memoirs, Five Thousand Nights at the Opera, Sir Rudolph Bing, general manager of the Met from 1950 to 1972, discusses the Met’s move from 39th street to its current home at Lincoln Center.  »

20 Feb 2012

Erwin Schrott’s Don Giovanni, ROH

Erwin Schrott triumphed as Don Giovanni in the Mozart/da Ponte series at the Royal Opera House, overcoming the limitations of the staging.  »

17 Feb 2012

Don Pasquale at the Théâtre des Champs Elysées

Critics. Can you get along without us? It is possible to reflect on this when the production of Donizetti’s Don Pasquale is shown on television tonight. »

17 Feb 2012

The Charterhouse of Parma in Marseille

Henri Sauguet is not entirely unknown in opera circles — divas Regine Crespin, Felicity Lott, Nathalie Dessay and Leontyne Price have included his arias in their solo albums. Plus there is a recording of his 1954 opera-comique Les Caprices de Marianne. »

17 Feb 2012

Verdi’s Aida at Lyric Opera, Chicago

In its current revival of Giuseppe Verdi’s Aida Lyric Opera of Chicago approaches the challenges of the ambitious score with a cast well suited to the music and to the drama.  »

16 Feb 2012

The Barber of Seville, Metropolitan Opera

It was a performance of Rossini’s The Barber of Seville in the late 90’s that marked my first visit to the Met.  »

16 Feb 2012

Pountney directs Verdi’s Forza for Vienna

One of the guiding principles of the revisionist (if not intervisionist) school of opera directing commonly called “regie-theater” is that certain outdated dramatic conventions in the librettos of many great operas can actually interfere with a contemporary audience’s ability to perceive the true artistic worth of the work of art.  »

15 Feb 2012

Le nozze di Figaro, Royal Opera

David McVicar’s production of The Marriage of Figaro, previously staged in 2006 (twice), »

13 Feb 2012

Ernani, Metropolitan Opera

Ernani accosts us with the charm and the gaucherie of a provincial youth without much experience as the host of a classy party.  »

11 Feb 2012

The Tales of Hoffmann, ENO

In many respects, The Tales of Hoffmann and Richard Jones would seem a good fit.  »

10 Feb 2012

Dido and Aeneas, Manitoba

Winnipeg music lovers were willingly transported back several centuries as Daniel Taylor and Montreal-based Theatre of Early Music graced Westminster United Church with a program of infrequently heard music.  »

08 Feb 2012

Gustav Mahler: Das Lied von der Erde

Recorded on 14 June 1964 at the Großer Saal of the Musikverein, Vienna, as part of the Wiener Festwochen, this legendary performance of Mahler’s Das Lied von der Erde was released in 2011 on Deutsche Grammophon.  »

08 Feb 2012

Il trittico in Lyon

All the important directors pass through Lyon, so it was just a matter of time before British director David Pountney would be invited to stage a production. It was Puccini’s triptych. »

08 Feb 2012

Dvořák’s The Jacobin, London

In advance of the new Rusalka at the Royal Opera House, the Barbican and the BBC Symphony Orchestra brought an electrifying performance of Dvořák's The Jacobin to London.  »

08 Feb 2012

Gustav Mahler: Symphony No. 4

If Mahler’s Fourth Symphony is arguably one of his more familiar pieces, live performances of the work can vary depending on the abilities of the performers to meet the various challenges of the piece.  »

08 Feb 2012

Der Rosenkavalier, ENO

English National Opera’s revival of Richard Strauss’s fin de siècle Figaro is a heart-warming treat for a cold winter’s night. »

08 Feb 2012

Weill: Die sieben Todsünden

I failed to discern any rationale behind programming the Brecht-Weill ballet chanté with various works by Debussy, one orchestrated by Robin Holloway.  »

06 Feb 2012

L’Enfant et les Sortilèges and La Navarraise in Monte-Carlo

The magic was in the pit, not that all Monaco was not magical — on January 25 a yellow Lamborghini, a red Ferrari, a vintage Jaguar among other magnificent machines stood before the entrance to Monte-Carlo’s resplendent Casino cum transplendent 500-seat opera house. »

03 Feb 2012

Werner Güra Sings Schubert, Wigmore Hall

Each year, the Wigmore Hall commemorates Franz Schubert’s birthday with a high profile recital. This year, Werner Güra and Roger Vignoles presented a recital which was a timely reminder of what Lieder performance should be. »

02 Feb 2012

Salome, San Diego

The San Diego Opera Company opened its 47th season on Saturday, January 26th with Richard Strauss’ Salome, a work that has something in it for everyone: lust, love, lasciviousness, homosexuality, heterosexuality, homicide, suicide, a voluptuous dance and quickie nudity.  »

02 Feb 2012

Mahler: Das Lied von der Erde

Released in 2011, this disc reproduces a performance of Mahler’s Das Lied von der Erde that was recorded on 10 November 1989 at the Grzegorz Fitelberg Concert Hall, Katowice [Poland].  »

02 Feb 2012

Mozart’s Die Zauberflöte at Lyric Opera of Chicago

Lyric Opera of Chicago’s recent revival of Mozart’s Die Zauberflöte offered a production with vocal pairs carefully matched and dramatic representation expressing the varying shades of Mozart’s score. »

02 Feb 2012

Jonathan Harvey’s Wagner Dream

British composer Jonathan Harvey’s Wagner Dream came to London four years after its premieres at the Holland Festival and in Luxembourg.  »

31 Jan 2012

Rienzi, OONY

For the first hour or so of the latest Opera Orchestra of New York venture, a concert performance of Wagner’s Rienzi, I often said to myself, This…isn’t so terrible.  »

31 Jan 2012

Così fan tutte, Royal Opera

Repeatedly revived since its final appearance in 1995, Jonathan Miller’s Così fan tutte returned yet again to the Covent Garden stage as the second part of the ‘Olympic’ cycle of Mozart-Da Ponte collaborations. »

31 Jan 2012

Le Roi et le Fermier

A year or two back, Opera Lafayette, the Washington-based company that specializes in eighteenth-century obscurités françaises, presented Pierre-Alexandre Monsigny’s Le Magnifique, an opéra-comique about a race horse.  »

27 Jan 2012

Don Giovanni, Royal Opera

Introducing the winter-spring season, ROH Chief Executive Tony Hall explains the (perhaps a tad spurious) Olympic ‘concept’ which has inspired the season’s programming, the five interlocking rings of the Olympic insignia motivating the performance of a series of works staged in ‘cycle form’. »

27 Jan 2012

Basel Chamber Orchestra, Wigmore Hall

Founded in 1984, the Basel Chamber Orchestra has developed a penchant for programmes which combine the modern and unfamiliar with the traditional and renowned. »

27 Jan 2012

La Bohème in Toulon, Marseille and Genoa

Three La Bohèmes in ten days, a critic’s nightmare that was more fun than a barrel of monkeys. »

25 Jan 2012

The Enchanted Island, Metropolitan Opera

This year is a big year for the Met. Of the seven new productions on the roster, two are the last two installments of a much-anticipated Robert Lepage Ring.  »

25 Jan 2012

Haydn’s The Seasons at Barbican Hall

This buoyant, refreshing performance of Haydn’s late oratorio, The Seasons, by Paul McCreesh’s superb Gabrieli Consort and Players conjured a calendric kaleidoscope of seasonal climes, from the warm bucolic breezes of spring to summer’s fierce suns and flashing storms, from autumnal harvests and hunts to the frozen mists and fiery hearth-sides of winter.  »

25 Jan 2012

Charpentier and Purcell by Early Opera Company

Composed during the spring hunting season of 1684, for a patron and performance venue unknown, Marc-Antoine Charpentier’s brief six-scene Opera de Chasse (‘Hunting Opera’), Actéon, has remained seldom performed and something of a mystery.  »