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Elsewhere

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

The Grand Tour: A European Journey in Song

The seventeenth Oxford Lieder Festival (12-27 October 2018) will celebrate a rich tapestry of music, words and performance in European song and will showcase the pinnacles of the repertoire while exploring wider cultural influences.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.


OPERA TODAY ARCHIVES »

Reviews

Unsuk Chin [Photo by Priska Ketterer]
19 Apr 2018

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’) »

Recently in Reviews

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26 Jan 2009

Die Zauberflöte from Opernhaus Zürich

A traditional production of Mozart and Schikaneder's singspiel Die Zauberflöte can go for charm, fantasy, and enjoyable camp. It can also turn trite and cloying. »

26 Jan 2009

Anna Netrebko: Souvenirs

The title of Anna Netrebko's most recent recital disc apparently springs from the musical selections' ability to prompt memories in the singer. »

26 Jan 2009

Dvořák: Kate and the Devil

On this 1955 recording of Dvořák's folk-tale based comic romp Kate and the Devil, conductor Zdenĕk Chalaba offers a lighter, faster approach than that heard on the modern studio version Supraphon released in 1981, under conductor Jiří Pinkas.  »

19 Jan 2009

Barber’s Antony and Cleopatra by NYCO

The two performances of Samuel Barber’s Antony and Cleopatra given at Carnegie Hall — the New York City Opera’s only performances this year while the State Theater is in rehab and the company is in flux — may or may not prove to be swan song of New York’s gallant number two company, whose succession of identity crises have been so fascinating to observe — and hear — over the decades.  »

14 Jan 2009

MASCAGNI: Zanetto

More than just three letters distinguishes "rarity" from "oddity." In opera, a rarity would be an admired work seldom performed. »

14 Jan 2009

Who Was Mary Lewis?

“Mary Lewis, the golden haired soprano” — does that name mean much to today’s lovers of singing and good music?  »

14 Jan 2009

Walter Felsenstein Edition

Some of the more ingenious opera productions of the twentieth century are the work of Walter Felsenstein, who renowned internationally for his efforts in the genre.  »

14 Jan 2009

DVORÁK: Lieder

Unjustly neglected, Dvorák’s Lieder are among his most engaging works, and this selection of some of his most important contributions to the genre demonstrate the range of emotions and the breadth of expression the composer used in these works.  »

07 Jan 2009

Mozart: Le Nozze di Figaro

This performance of Le Nozze di Figaro, recorded live at the Théâtre des Champs-Élysées in June 2004, prompts much admiration for René Jacobs, its conductor. »

07 Jan 2009

La Rondine at the MET

The first thing that hits you about the Met’s production of La Rondine is the beauty of the sets and costumes (from the classy team of Ezio Frigerio and Franca Squarciapino, respectively) — especially in contrast to the tawdry glitz of the recent Thaïs.  »

26 Dec 2008

Thaïs at the MET

Everyone who likes Massenet’s Thaïs seems to feel obliged to apologize for it, or to become defensive: it’s not that bad, they all seem to say.  »

23 Dec 2008

The Play of Daniel — A Medieval Music Drama from Beauvais

Can we call The Play of Daniel an opera, or “music drama” (as this performance put it), when such terms did not exist, and would not exist for centuries to come when the piece was devised, around 1200, by the cathedral chapter of Beauvais?  »

22 Dec 2008

PAISIELLO: I Giuochi d'Agrigento

Dynamic offers devotees of classical era opera a rare and quite rewarding opportunity to hear I Giuochi d'Agrigento, a little-known opera by Giovanni Paisiello, best known as the man who composed a popular Barbiere di Siviglia before Rossini came along and eclipsed his predecessor.  »

22 Dec 2008

Best of Neujahrskonzert

An annual event televised around the world, the Vienna Philharmonic's Neujahrskonzert has become a classical music institution, and as such is impervious to criticism. But not beyond it. »

22 Dec 2008

Karita Mattila — Fever

Ondine provides a treasure of a booklet for Fever, Karita Mattila's traversal of some standards from the so-called "Great American Songbook," plus two Brazilian numbers. »

22 Dec 2008

Berg’s Lulu at Lyric Opera of Chicago

In its new production this fall season of Alban Berg’s Lulu, Lyric Opera of Chicago has achieved a near ideal synthesis of music and drama.  »

22 Dec 2008

Hänsel and Gretel at Covent Garden

Engelbert Humperdinck’s Hansel and Gretel is titled a Märchenspiel — a Fairytale: and as twentieth-century psychologists and psychoanalysts have been eager to inform us, lurking beneath those familiar saccharine stories of sleeping princesses, defeated tyrants, love fulfilled and harmony restored, lie the dark shadows of the human heart — passionate, violent, unpredictable and unredeemed. »

22 Dec 2008

Thaïs: A Star Vehicle — In Overdrive

The Metropolitan Opera’s high-definition broadcast on radio and by satellite to movie theatres around the Nation, December 20 was Jules Massent’s 1894 star vehicle, Thaïs — the sadly ironic tale of a 4th Century Egyptian courtesan who grows tired of the long hours and demanding nature of her work, and is thinking of a career change.  »

18 Dec 2008

I mori di Valenza — Ponchielli’s Unfinished Opera

It almost seems as if every composer was entitled to have at least one unfinished work.  »

14 Dec 2008

Riders to the Sea — English National Opera, London Coliseum

Back in June, in my review of The Pilgrim’s Progress at Sadler’s Wells, I wrote about the valuable and unsurpassed work being done by Richard Hickox to champion the works of Ralph Vaughan Williams in the composer’s centenary year, a project of which this rare staging of Riders to the Sea for ENO was to be the culmination.  »

12 Dec 2008

Der Fliegende Holländer — London Lyric Opera, Barbican Hall

Much has been promised of London Lyric Opera. The newest company on the capital’s opera scene, it will collaborate with the Royal Philharmonic Orchestra to specialise in full-scale concert performances with high-profile soloists.  »

11 Dec 2008

When Water Sprites Go Bad in Brussels

Brussels’ reliably excellent De Munt/La Monnaie Opera served up a Rusalka that was theatrically vivid, musically resplendent, and cheered to the rafters at its premiere.  »

08 Dec 2008

Elektra, Avery Fisher Hall, New York

Elektra begins with an explosion and remains, with a few lyric interludes, on that extreme pitch throughout its two hours.  »

07 Dec 2008

Glyndebourne on Tour — Theatre Royal, Plymouth

Glyndebourne Touring Opera has long been bringing its wares to the further reaches of the southern United Kingdom and its current package of Hansel und Gretel, Carmen and The Magic Flute has been drawing good crowds from Norwich in the east to Plymouth in the south-west. »

05 Dec 2008

Tristan und Isolde at the MET

The bad luck of last season’s Tristans seems to be edging into the present one — but the curse now finds the house better prepared for trouble.  »

05 Dec 2008

London Philharmonic Orchestra — 75th Anniversary, Vol. 3: 1983-2007.

Released to commemorate the seventy-fifth anniversary of the London Philharmonic Orchestra, the three multi-disc sets of recordings makes available recordings that document the triumphs of the ensemble since its founding in 1932 by Sir Thomas Beecham.  »

05 Dec 2008

Barcelona: Figaro la, Figaro qua

Like Seville’s peripatetic barber, Gran Teatro del Liceu's new Marriage of Figaro is rather all over the place. »

02 Dec 2008

Porgy through a glass lightly

It was, of course, coincidence. When the Chicago Lyric Opera scheduled George Gershwin’s Porgy and Bess for the current season, not even the preludes to the 2008 presidential election had begun.  »

02 Dec 2008

Munich's Christmas Treasures: Massenet and Handel

Not all of Munich's holiday delights are to be found at the just-opened annual Christmas Market filling the Marienplatz and environs.  »

01 Dec 2008

Carmen at the Washington National Opera

From the director’s point of view, there are two ways to approach staging an opera.  »

01 Dec 2008

Verdi's Aida at La Scala

Can this truly be the production of Verdi's Aida that earned world-wide headlines in December 2007? »

01 Dec 2008

GIORDANO: Marcella

Alberto Cantù's booklet essay for the Dynamic release of Umberto Giordano's rare one-act opera Marcella quotes a review from the day after the 1907 premiere, which indicates that the premiere's audience's expectations of "greater originality of melodic invention" went unmet. »

28 Nov 2008

The Tales of Hoffmann at Covent Garden

The opening performance of the ROH’s seventh revival of John Schlesinger’s 1980 production of The Tales of Hoffmann was dedicated to the memory of Richard Hickox.  »

25 Nov 2008

Debussy’s Pelléas - a fine swansong for Independent Opera in London

Pelléas et Mélisande in a 200 seat theatre, with just 35 musicians and no pit?  »

25 Nov 2008

Boris Godunov at ENO

There are two things which, in recent history, English National Opera has consistently done extremely well.  »

25 Nov 2008

La Bohème in San Francisco

The show curtain was an illustration of the typical Parisian skyline.  »

25 Nov 2008

Lulu-Palooza in the Windy City

Marlis Petersen, the much lauded "Lulu-du-jour," brought her well-traveled portrayal of Berg's complex heroine to Chicago Lyric Opera and she alone was almost worth the price of admission.  »

21 Nov 2008

Il Barbiere di Siviglia at Opera House Zürich

This 2001 Zürich performance of Rossini's masterpiece Il Barbiere di Siviglia boasts one of the final performances of the great bass Nicolai Ghiaurov, who passed away in 2004. »

20 Nov 2008

MAYR: L’amor coniugale

Naxos, in conjunction with SWR, has been releasing recordings from the Rossini in Wildbad Festival, which focuses not just on the titular composer but also on his contemporaries. »

19 Nov 2008

Matilde di Shabran at Covent Garden

The rare Rossini opera which brought Juan Diego Flórez to international attention in Pesaro in 1996 was thrown together by the composer at the last minute to meet a deadline in February 1821, with a plot from one source and characters from another, and bits of the score filled in by Pacini.  »

18 Nov 2008

Doctor Atomic and Arjuna’s Dilemma

As Tom Stoppard put it, “There is an art to the building up of suspense.”  »

17 Nov 2008

Opera in Germany

Following a recent visit to Germany, Wes Blomster surveys the vibrant opera scene in Berlin and Magdeburg.  »

17 Nov 2008

La Damnation de Faust at the MET

The Met has not staged La Damnation de Faust in a hundred years, since 1906, when it clocked a mere five performances.  »

16 Nov 2008

La Traviata at the MET

When La Traviata had its first performance, in Venice in 1853, it was a scandal. »

16 Nov 2008

Lucrezia Borgia at the Washington National Opera

After a somewhat shaky start to the season, as my recently posted review of La traviata attests, Washington National Opera has added considerable luster to its roster this November with the infusion of spectacle and star power in two new productions.  »

16 Nov 2008

Wozzeck, Munich

Wozzeck stands ankle deep in water on the flooded stage of the Bavarian State Opera, above him hovers a huge, movable box – the dingy apartment he shares with Marie and their adolescent bastard – and he is surrounded by a freak-show worthy of a George Groszian nightmare and worse. »

16 Nov 2008

Great Operatic Arias with Sir Thomas Allen 2

The "2" in this disc's title indicates that this is the second Chandos recital for Sir Thomas Allen.  »

13 Nov 2008

Jean Baptiste Lully's Persée

At a time when it is the fashion for stage direction, sets, and costumes to have little, if anything to do with the ouvre presented on stage, this production of Jean-Baptiste Lully's Persée (1682) is candy for the eyes and ears, with adherence to what is known of the French Baroque operatic standards.1 »