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Elsewhere

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Royal Symphony

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

2017 Summer Festival at Lucerne

Lucerne Festival announces its 2017 Summer Festival.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.

Beat Furrer FAMA - Hörtheater reaches London

Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences


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Reviews

Philippe Jaroussky
02 Dec 2016

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach. »

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23 Apr 2016

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.  »

23 Apr 2016

Simon Rattle conducts Tristan und Isolde

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

20 Apr 2016

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. »

18 Apr 2016

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.  »

14 Apr 2016

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.  »

12 Apr 2016

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 . . .  »

10 Apr 2016

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.  »

10 Apr 2016

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. »

07 Apr 2016

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.  »

06 Apr 2016

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. »

05 Apr 2016

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. »

02 Apr 2016

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.  »

02 Apr 2016

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).  »

02 Apr 2016

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. »

31 Mar 2016

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!’ »

26 Mar 2016

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw »

22 Mar 2016

La Juive in Lyon

Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . . »

21 Mar 2016

Benjamin, Dernière Nuit in Lyon

That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism]. »

21 Mar 2016

Handel’s Berenice, London

1737 was Handel’s annus horribilis. His finances were in disarray and his opera company was struggling in the face of the challenge presented by the rival Opera of the Nobility. The strain and over-work led to a stroke, as the Earl of Shaftesbury reported: »

20 Mar 2016

Nocturnal Visions and Reveries at the Barbican

Nocturnal visions and reveries dominated this concert by the BBC Symphony Orchestra at the Barbican Hall, part of a two-day celebration of the music of George Benjamin which also includes a concert performance of the composer’s opera Written on Skin.  »

18 Mar 2016

Ferruccio Furlanetto at San Diego

On March 5, 2016, San Diego Opera presented it’s star bass, Ferruccio Furlanetto, in a concert of arias with the San Diego Symphony Orchestra at the orchestra’s home, Copley Symphony Hall. »

18 Mar 2016

Madama Butterfly, LA Opera

On March 12, 2016, Los Angeles Opera presented the local premiere of Lee Blakeley’s staging of Giacomo Puccini’s Madama Butterfly which had been seen in 2010 at Santa Fe Opera. When Blakeley’s Geisha, played magnificently by Ana Maria Martinez, forsakes her traditional religion and breaks the rules of her culture, she eventually faces a choice between total loss of honor and suicide. Everything that happened on the stage Saturday night pointed toward the tragedy. Puccini’s unforgettable music and exquisite singing by Los Angeles Opera’s top-notch cast kept audience members on the edges of their seats all evening. »

16 Mar 2016

Boris Godunov, Covent Garden

‘And therefore never send to know for whom the bell tolls; it tolls for thee.’ John Donne’s metaphysical meditation might have made a fitting sub-title for Richard Jones’s new production of Musorgky’s Boris Godunov at the Royal Opera House — the first performance in the house of the original 1869 score. »

14 Mar 2016

Ariodante, London Handel Festival

By the time that he composed Ariodante, which was first performed in January 1735, Handel had more than three decades of opera-composing experience behind him. It’s surely one of his greatest music dramas not least because, adapted from Ludovico Ariosto’s epic poem Orlando Furioso, it is a very ‘human’ drama, telling of love and lust, betrayal and healing. »

14 Mar 2016

AZ Opera Presents Young Singers in Memorable Don Giovanni

Don Giovanni is Mozart at his mature zenith. He makes his musical statements directly with optimum economy and, even after more than two centuries, the dramatic scope of his work remains a source of wonder to operagoers. Charles Gounod called Don Giovanni “an unequalled and immortal masterpiece, the pinnacle of lyrical drama.” »

10 Mar 2016

Rimsky-Korsakov’s May Night, London

Descending into the concrete cavern that is Ambika P3, at the University of Westminster, I reflected that the bunker-like milieu was a fitting venue for Royal Academy Opera’s production of Rimsky-Korsakov’s May Night, which updated the original early-19th century locale to the beginning of the Soviet era. »

10 Mar 2016

Entrancing Orlando at the Concertgebouw

The English Concert’s travelling Orlando has been collecting rave reviews. Here’s another one from Amsterdam, the last stop on their tour before Carnegie Hall. »

03 Mar 2016

Orlando at the Barbican

In 1728 Handel was down on his luck, following the demise of his ‘Royal Academy’. Ever the entrepreneur, the following year he made a scouting tour of Italy in search of the best singing talent and, returning with seven new virtuosos — including the castrato Senesino.  »

02 Mar 2016

Heroique flashes at Wigmore Hall

Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals »

02 Mar 2016

Il trittico, Royal Opera

Strong revival for Richard Jones 2011 production with cast mixing returnees and débutantes »

02 Mar 2016

A trip with Captain Haitink into Bruckner’s Cosmos

Last year for his 60th anniversary as conductor, Bernard Haitink celebrated with one of his first orchestra’s the Dutch Radio Philharmonic. That performance of Mahler’s Fourth turned out such a success, he returned for another round at the NTR Saturday Matinee at the Concertgebouw.  »

02 Mar 2016

Félicien David: Herculanum

It is not often that a major work by a forgotten composer gets rediscovered and makes an enormously favorable impression on today’s listeners. That has happened, unexpectedly, with Herculanum, a four-act grand opera by Félicien David, which in 2014 was recorded for the first time.  »

01 Mar 2016

Music and the Exotic from the Renaissance to Mozart

In Musical Exoticism (Cambridge 2011) Ralph P. Locke undertook an extensive appraisal of the portrayal of the ‘Other’ in works dating from 1700 to the present day, an enquiry that embraced a wide range of genres from Baroque opera to Algerian rap, and which was at once musical, cultural, historical, political and ethical.  »

29 Feb 2016

Khovanshchina at Dutch National Opera convinces musically, less so theatrically

Dutch National Opera’s Khovanshchina’s finest asset was Anita Rachvelishvili’s vocally ravishing Marfa. The darkly opalescent Netherlands Philharmonic Orchestra came in a close second. »

29 Feb 2016

Sophie Bevan, Wigmore Hall

The meaning of the term cantata (literally, ‘sung’ from the Italian verb, cantare) may have changed over time, but whether sacred or secular, the form — with its combination of declamatory narration and emotive arias — is undoubtedly a dramatic one, as this performance by Dunedin at the Wigmore Hall of cantatas by J.S. Bach and Handel confirmed. »

29 Feb 2016

Extraordinary Pelléas et Mélisande

With its City of Light presentations, honoring Paris and French inspired music, the Los Angeles Philharmonic offered its public an extraordinary concert performance of a unique opera — Pelléas et Mélisande by Claude Debussy. »

29 Feb 2016

Fascinating Magic Flute in Los Angeles

Barrie Kosky, intendant of the Komische Oper in Berlin, initially thought of combining live performance with animation when he saw British theater company 1927’s production of Between the Devil and the Deep Blue Sea. For that presentation, Suzanne Andrade and Paul Barritt mixed the worlds of silent film and music hall theater, a combination that Kosky wanted for his production of Mozart’s The Magic Flute.  »