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Elsewhere

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta


OPERA TODAY ARCHIVES »

Reviews

A scene from Nabucco [Photo courtesy of Serbian National Theatre, Novi Sad]
22 Nov 2014

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.  »

Recently in Reviews

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07 Sep 2005

Fidelio in Stir

First, you signed the waiver relieving the venue of any liability for your injury or death. Then, you were handed a flashlight and felt the chill in the air – not a typical cold draft but the prickly tingle that comes with unquiet spirits nearby. »

31 Aug 2005

The Cambridge Companion to Elgar

Perhaps some Opera Today readers may wonder why a book on Sir Edward Elgar merits reviewing on this particular site. The composer never came near to completing an opera. In fact, only toward the end of his career did he... »

27 Aug 2005

AUDRAN: La Mascotte

Chances are the world of opera bouffe is somewhat foreign to most listeners. Many may know one or two operettas by Offenbach - La Perichole, perhaps, or La belle Helene and a large number of melodies from various of his works collected for the ballet Gaite parisienne. But this extensive body of works from the last quarter of the nineteenth-century is infrequently performed, and, apart from the occasional aria heard on an inventively programmed recital, the repertory today is heard about more than it is heard. The names Audran or Lecoq are largely unknown, despite their having been very popular in this country at the end of the nineteenth century. (Maurice Grau brought many French productions to New York during the 1870s and 1880s, and the operettas, sung in French, were quite popular. Productions in the original language allowed the retention of the racy dialogue and numerous double entendres - most of which would have been unacceptable in English -- so typical of these works.) »

27 Aug 2005

RABAUD: Marouf, Savetier du Caire

Like many of the nearly forgotten composers of his era, Henri Rabaud (1873-1949) had his day in the sun. A pupil of Massenet at the Paris Conservatoire, and later its director, Rabaud wrote eight operas, the most successful of which was Marouf, Savetier du Caire, which premiered in 1914 at the Opera-Comique in Paris and soon became a world wide hit. But today a mention of Rabaud's name will likely draw a blank stare, even from well versed opera aficionados. »

27 Aug 2005

ALALEONA: Mirra

I had never heard of the Italian composer Domenico Alaleona (1891-1928) when a recording of his opera Mirra arrived in the mail. Baker's gives him a respectable 22 lines, but says "his importance lies in his theoretical writings," not this opera or various collections of songs, instrumental works, and a Requiem. If you've ever come across the term "dodecaphony," well, Alaleona coined it (in Italian, of course). »

26 Aug 2005

MESSIAEN: Orchestral Works

As part of their "Gemini--the EMI Treasures" series, EMI has re-released recordings of some of Olivier Messiaen's greatest hits: the Turangalila-Symphonie (1946 - 48), Quatour pour la fin du temp (1940 - 41), and Le Merle Noir (1951, for flute and piano). This two-disc release features the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle, with Tristan Murail playing ondes martenot and Peter Donohoe on solo piano in the 1986 recording of Turangalila-Symphonie. Quatour pour la fin du temps was recorded in 1968 by Erich Gruenberg (violin), Gervase de Peyer (clarinet), William Pleeth (cello), and Michel Beroff (piano); Le Merle Noir was taken from a 1971 Abbey Road session with flutist Karlheinz Zoller accompanied by Aloys Kontarsky. These performances in their various manifestations on earlier albums have consistently received rave reviews, and with good reason. The performances are exceptional in their interpretation and the recordings have been beautifully remastered. »

26 Aug 2005

Marco Polo Film Classics, Part I

Between the 1930s and the 1950s, Hollywood composers pumped out tens of thousands of scores for what we now call "classical Hollywood films." These films often contained an hour or more of music, but few viewers would have realized this. Certainly, many of these scores included themes that became very well known--Casablanca and Gone with the Wind come immediately to mind; however, much of the music was played quietly and inconspicuously. In classical Hollywood films, music is subservient to the narrative, and generally played two main roles. First, it served the film's central narrative by heightening the emotional content of important scenes (e.g., ominous music when characters approach an abandoned castle) and revealing characters' hidden feelings (e.g., love music while two characters are fighting). Second, music gave the film a greater sense of continuity by smoothing over cuts and moving slower scenes along. »

25 Aug 2005

BONONCINI: La nemica d’Amore fatta amante

Giovanni Bononcini (Modena, 1670 - Vienna, 1747) is best known today for his dozen years in London, which began when he was 50 and Handel was 35. Five years later, a well-known epigram likened them to Tweedle-dum and Tweedle-dee . Londoners then had to decide whether Handel, compared to Bononcini, was "but a Ninny," or whether Bononcini, when matched with Handel, was "scarcely fit to hold a Candle." For many Londoners, the more luminous composer was Bononcini, since he had served munificent patrons for four decades before his arrival in England: duke Francesco II of Modena (1680s); two immensely wealthy noblemen - Filippo Colonna and Luigi de la Cerda, the Spanish ambassador - in Rome (1690s); two emperors - Leopold I and Joseph I - in Vienna (1700s); and an immensely wealthy Viennese ambassador in Rome (1710s). »

25 Aug 2005

The Death of Klinghoffer at Edinburgh

It has taken 14 years for John Adams’ second opera to reach a British stage. Scottish Opera’s production of The Death of Klinghoffer at last goes boldly where no opera company in these islands has dared before (and one of them, Glyndebourne, shared in the original commission). »

25 Aug 2005

Melodrama in Edinburgh

First performed in 1775, Georg Benda’s Ariadne auf Naxos is a melodrama in the most literal sense of the word — a work for actors and orchestra in which music is deployed to heighten the effect of emotional declamation. Even though posterity has tended to play its influence down, many in the late 18th and early 19th centuries rated it as both a masterpiece and a major vehicle for a tragic actress. This performance revealed it to be a work of considerable power. »

25 Aug 2005

The Threepenny Opera in LA

LOS ANGELES (Hollywood Reporter) – German writers Bertolt Brecht and Kurt Weill’s stylized 1928 masterpiece “The Threepenny Opera” is savagely cynical, sardonic, brittle and worldly wise—and wonderfully well-performed at the Odyssey Theater Ensemble, a tribute to savvy director Ron Sossi and a cast of 16 talented and eager performers. »

23 Aug 2005

THOMAS: Polish Music since Szymanowski

Throughout the history of Poland, music has been an enduring force in its culture, and Polish composers were at the forefront of a number of developments in the twentieth century. »

23 Aug 2005

GIORDANO: Andrea Chénier

Carlo Bergonzi never recorded the role commercially and he is obviously the " raison d'etre " of this set. Among collectors there are quite a lot of Met-performances circulating but none is in very good sound. These performances date from around 1960 during the tenor's heyday but even they prove that the role is not completely his best: part of the score lays a little too high for his tessitura and he misses the sheer power to overwhelm us in some of the arias. This Venice-performance is in good sound and as the theatre is so much smaller than the Met maybe better suited for a role a shade too heavy for the voice. By 1972 too he knew much better where his strong points were and he fully exploits them. Time and again he makes a point by a diminuendo or a piano where Del Monaco and Corelli hector along. While the voice is slightly less beautiful than in the famous 1970-concert performance in London he succeeds in giving us a truly fine " Come un bel di di maggio "; the only piece Luigi Illica culled from the poems of Andre Chenier himself. In London Bergonzi has to switch in a lower gear when he realizes he is not going to make it but in Venice the voice is at its best in the fourth act. There are some fascinating glimpses of the tenor's experienced singing. When in his second act monologue he gets before the beat, he simply introduces a little sob and stage and pit are once on the same wave length. In that terrible first act monologue " Colpito qui m'avete " he has given so much breath in getting to the top in the first verse, that during the second verse he starts declaiming instead of singing though he does that with such skill and conviction that most people in the audience probably thought of it as an interpretative trick. A live audience probably didn't notice the appearance of the weak link in late Bergonzi's vocal armour: a gliding towards a fortissimo note from high A onwards that would almost always result in flat singing above the staff from 1975 onwards. »

23 Aug 2005

CHRISTINE BREWER — The ‘Anti-Fleming’

As everyone knows, the art of the song recital is in decline. When you and I were young Maggie, Columbia Concerts and Community Concerts regularly sent vocal and other musical artists all around America providing a never fading rainbow of wonderful music, as great classical music performers educated and thrilled us with their art. For example, As a youth I once heard Leonard Warren give a recital in a high school auditorium in Webster Groves, Missouri, price of admission $5. I still have the ticket stub - and the memories. Kathleen Ferrier, Robert Casadesus Jennie Tourel and Guiomar Novaes performed in my town when I was a kid. »

22 Aug 2005

HANDEL: Saul

Any new recording of Handel under the baton of Rene Jacobs has to be greeted with both respect and interest, even if the absolute need for another recording of this well-represented oratorio is debatable. Perhaps some Handel scholars would argue with that and are still discussing the precedence of the current available recordings — the older Gardiner, the Neumann, or the more recent McCreesh for instance. So, one presumes, this recording of "Saul" on the Harmonia Mundi label must be intended to either trump those three or to at least offer a viable fourth choice for those who prefer their Handel oratorios as complete as possible. And a plus point is that the entire work is squeezed onto just 2 CDs with a total running time of 2 hrs 30 minutes, accompanied by some stimulating liner notes by Pierre Degott that are both informative and absorbing for the non-specialist consumer. »

19 Aug 2005

Britten's Curlew River in Edinburgh

Benjamin Britten’s opera Curlew River was inspired by the Noh plays he saw on his 1956 visit to Japan, after which he asked his regular librettist, William Plomer, to adapt Sumidagawa for him. Eight years later, the opera was composed. Since it lasts only an hour and requires a highly stylised kind of performance, it has never been a favourite with regular opera houses, but it makes for excellent festival fare. The Edinburgh Festival has mounted its own production, directed by Olivier Py, which is well worth catching. »