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Elsewhere

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Stefano Mastrangelo — An Italian in Japan

I’m interviewing Stefano Mastrangelo in the immediate aftermath of his conducting La Traviata for the Chofu City Opera in Tokyo on 22 November 2014; he conveys an air at once of tiredness and exhilaration.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Apotheosis Opera to Stage Tannhäuser

Apotheosis Opera is proud to announce their inaugural production will be a fully-staged English translation of Richard Wagner’s early masterpiece TANNHÄUSER on Friday, July 31, 2015, at 7pm and Sunday, August 2, 2015, at 3pm at the theatre of El Museo del Barrio (1230 5th Avenue) .

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Operalia 2015

‘Competitions are for horses, not artists.’ The words of Béla Bartók seemed apposite on Sunday night at the Royal Opera House, as 11 soloists walked swiftly onto the Covent Garden stage, performed their chosen aria, briefly acknowledged the applause and then returned summarily to the wings.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Monsters and Marriage at the Aix Festival

Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.


OPERA TODAY ARCHIVES »

Reviews

Champs Hill Records CHRCD057
01 Aug 2015

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.  »

Recently in Reviews

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04 Oct 2005

RAVEL: Shéhérezade
DUPARC: Mélodies

Konrad Jarnot is a young baritone who brings a wonderful vitality to the music he has recorded. He also has another Oehms release, a selection of Lieder by Gustav Mahler, which is engaging for the strong sense of line he brings to that repertoire, which is precisely what he brings to this collection of French vocal music. »

04 Oct 2005

PROKOFIEV: Romeo and Juliet
RESPHIGHI: Pini di Roma

The biographies of the two composers whose works are represented on this disc, Sergei Prokofiev and Ottorino Respighi, share many common threads. In addition to moving in similar circles early in their lives (for example, both studied with Rimsky-Korsakov and both were later connected with Diaghilev), they similarly composed in totalitarian regimes at the end of their careers. »

03 Oct 2005

CONRADI: Die schöne und getreue Ariadne

Since its inception in 1980, the biennial Boston Early Music Festival has grown to international stature of the first rank, and while its programming is diverse in scale and repertory, its focus in recent years has been on full-scale productions of baroque opera, including Monteverdi’s L’Orfeo, Rossi’s Orfeo, Cavalli’s Ercole Amante, Lully’s Thésée, and this past summer, Mattheson’s Boris Goudenouw. »

30 Sep 2005

MENDELSSOHN BARTHOLDY: Der Onkel aus Boston

For the most part, the posthumous reputation of Felix Mendelssohn (1809-43) resides on the composer’s instrumental works and of all his vocal music, his two oratorios, Elias and Paulus are familiar to the general public. »

29 Sep 2005

Brigitte Fassbaender: Lieder — Mahler, Berg, Ogermann

Since 1995 the mezzo-soprano Brigitte Fassbaender no longer performs as a singer, but has devoted her recent career to directing. »

29 Sep 2005

FALLA: El amor brujo; El sombrero de tres picos; La vida breve

With this CD, Naxos continues its well deserved reputation for producing recordings at affordable prices, and more often than not, but not limited to, music that is rarely performed, or with a limited audience. »

28 Sep 2005

The Very Best of Thomas Hampson

The Very Best of Thomas Hampson is an excellent selection on CD of Hampson’s recordings from various points in his career. The American baritone is one of the international stars of classical music for both his roles on the opera stage and his work as a recitalist. »

28 Sep 2005

SCHNEITZHOEFFER: La Sylphide

This is one of the most enchanting and lovely ballet performances that I have ever seen, and believe me I have seen quite a few! First performed in Paris on May 12, 1832, La Sylphide marks the advent of Romanticism in ballet. »

28 Sep 2005

BACH: Cantatas, Vol. 8

On Christmas 1999, the Monteverdi Choir and English Baroque Soloists with conductor Sir John Eliot Gardiner set out on one of the most unusual musical tours ever undertaken. »

28 Sep 2005

BACH: Cantatas, Vol. 6

J. S. Bach’s large output of church cantatas and their prominence in his duties as Kantor at the Thomaskirche in Leipzig have made them central to our modern understanding of Bach. »

27 Sep 2005

MAHLER: Symphony No. 5

Gustav Mahler’s Fifth Symphony is a tour de force that can tax a conductor and orchestra in live performances. While it often takes several sessions in the studio for performers to match the required intensity of playing with exuberance that is also part of the work, some live performances convey that fine balance immediately. »

26 Sep 2005

On Wings of Jewish Songs — Music from the New Jewish School

Yiddish is a language based on medieval German that developed separately from modern German. It spread throughout Eastern Europe, where it acquired words from Hebrew, as well as Russian, Polish, and other Slavic languages. »

26 Sep 2005

SCHUMANN: Liederkreis, op. 24; Dichterliebe, op. 48

In addition to some notable, recent recordings of selected Lieder by Robert Schumann (1810-56), two comprehensive editions of the composer’s works in this genre are underway, one by Hyperion, which is almost complete and another that is just starting on the Naxos label. Performed by Thomas E. Bauer, baritone and his wife, the pianist Uta Hielscher, the first volume is as promising as it is ambitious. »

26 Sep 2005

Arvo Pärt: A Tribute

Paul Hillier has written the book on Arvo Pärt, quite literally. He has spent significant time with the Estonian composer interviewing him, working with him, and studying his music. He has not only authored the only text researching Pärt's music and background, but Hillier also seems to one of the first to perform and record his music, thereby exposing it to the general public. »

26 Sep 2005

LIDERMAN: The Song of Songs

Now this is one beautiful piece of music, a setting of the text of the “Song of Songs,” taken from the Hebrew Bible by the composer Jorge Liderman. Liderman is Argentinian by birth, now on the composition faculty of the Department of Music at the University of California at Berkeley. His work shows a distinct ability at the craft of composition: this is a very attractively put together work. »

25 Sep 2005

BENNETT: The Mines of Sulphur

Glimmerglass Opera has been doing innovative and often remarkable work for a number of years. Thankfully, many of their productions have been shared with the New York City Opera and, thus, with a large opera-going public. »

25 Sep 2005

GLINKA: Ruslan and Lyudmila

Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer. »

24 Sep 2005

ROSSINI: L’Italiana in Algieri

This newly re-mastered recording was originally released in 1954 by Columbia (Qcx 10111/12), later reprinted by EMI (C163-00981/2), and it includes, besides Giulieta Simionato in the title role, three other members of the original 1953 production at La Scala: tenor Cesare Valleti, and bass Mario Petri in their respective roles of Lindoro and Mustafà and Conductor Carlo Maria Giulini. »

24 Sep 2005

SHOSTAKOVICH: Symphony No. 13 ("Babi Yar")

Audiences accustomed to hearing the grandeur of Shostakovich’s early symphonies may initially be disillusioned when listening to his Thirteenth Symphony for the first time. »

22 Sep 2005

TALLIS: Spem in alium – Missa Salve intemerata

With a career spanning the monarchies of Henry VIII, Edward VI, Mary Tudor, and Elizabeth I, Thomas Tallis’s musical pragmatism became both a necessary and distinctive trait. »

22 Sep 2005

DONIZETTI: Francesca di Foix

Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one (Venice 1818), a genre that many twentieth-century historians considered respectable primarily because of contributions made to it by Gioachino Rossini, the Donizetti’s other single-act works generally have been brushed aside as less important than the larger operas. »

22 Sep 2005

STOCKMANN: Musica Nuptialis

This recording of Musica Nuptialis celebrates occasional music and does so in a fittingly occasional manner. »

22 Sep 2005

Lado Ataneli — Opera Arias

Baritone Lado Ataneli’s self-titled debut CD contains an impressive selection of arias intended to showcase the singer’s style, range, and versatility. »

22 Sep 2005

Penny Merriments: Street Songs of 17th Century England

In 1728 John Gay’s Beggar’s Opera was produced in London as a sardonic response to the ongoing craze for Italian opera seria. »

22 Sep 2005

MAHLER: Symphony no. 2 “Resurrection”

Among recent recordings of music by Gustav Mahler, the 2004 release of the composer’s Second Symphony conducted by Claudio Abbado stands out as an intense and highly charged performance. »

22 Sep 2005

SCHOENBERG: Accentus | Ensemble intercontemporain

Schoenberg, born in Vienna in 1874, is remembered as a composer and a music theorist. He held strong attitudes toward the craft of composition and its pedagogy, which have been received as the beginnings of a theory of music, though Schoenberg denied ever attempting to create a systematic theory. »

21 Sep 2005

WEILL: The Firebrand of Florence

When I was a young child, my mother purchased a blouse and brought it home to the acclaim of my aunts and older sisters. "Oh, that's smart!" they pronounced, cooing and stepping back to admire the thing. Not a little bit jealous, I was taken aback. »

19 Sep 2005

All My Heart — Deborah Voigt sings American Songs

“I send my heart up to thee, all my heart in this, my singing” Robert Browning. The title of this CD is taken from the text of one of Amy Beach’s Three Browning Songs, which close the program. Given Deborah Voigt’s ability to sing this program with completely natural expression and crystal clear diction while maintaining a consistently high standard of vocal production and musicianship, it is easy to believe that in her singing she shares with us something of what is most dear to her own heart. Fortunately for us, in doing this she is also giving us a fine recording of American art songs, some of which will be quite familiar to many listeners, others of which will be wonderful new discoveries. »

19 Sep 2005

HANDEL: L’Allegro, il Penseroso ed il Moderato, HWV 55

Joachim Carlos Martini is well represented in the Naxos catalog with recordings of Handel oratorios, including Athalia, Saul, Il Trionfo del Tempo . . ., Deborah, the “pasticcio” oratorios, Gideon and Nabal, and this recent release of L’Allegro, il Penseroso ed il Moderato. Narrowly traditional views of what an oratorio ought to be—a Biblical narrative in a dramatic frame—are stretched here, and this is a good reminder that the term “oratorio” was used flexibly in the seventeenth and eighteenth centuries. »

19 Sep 2005

GOUNOD: Musica Sacra

The 19th Century French composer Charles Gounod is best known for his lyric dramas / operas Faust (1859) and Roméo et Juliette (1867), and the very popular Méditation sur le 1er prélude de piano de J. S. Bach (1852), arranged as an Ave Maria in 1859. Yet the dominant portion of Gounod’s creative output was church music, the amount of which surpassed that of any other composer of the 19th Century. In spite of this, the church music of Gounod remains an obscure portion of his oeuvre. »

16 Sep 2005

RACHMANINOV: All Night Vigil, op. 37

Sergei Rachmaninov established his reputation early in his career as one of the twentieth- century’s foremost pianists and conductors. Critical assessment of his abilities as composer, however, was harsh. In the fifth edition of Grove’s Dictionary of Music and Musicians, Eric Blom wrote dismissively: “…as a composer [Rachmaninov] can hardly be said to have belonged to his time at all,…His music is well constructed and effective, but monotonous in texture, which consists in essence mainly of artificial and gushing tunes….[His] enormous popular success…is not likely to last,…” In general, critics dismissed his musical language as outmoded, as being far from the mainstream of twentieth-century musical styles--indeed, most considered his works as anachronisms, composed by a man whose style had not left the late nineteenth century. Even Rachmaninov acknowledged feeling lost amid the music of most other twentieth-century composers. In a 1939 interview he gave for the Musical Courier, Rachmaninov said, “I felt like a ghost wandering in a world grown alien. I cannot cast out the old way of writing and I cannot acquire the new.” »

16 Sep 2005

ADÈS: Piano Quintet

Despite his relative youth (b.1971), Thomas Adès is well-known among today’s serious opera connoisseurs for his 1995 opera hit, Powder Her Face, as well as his more recent opera, The Tempest, which opened in February 2004 to rave reviews. The success of these imaginative, ground-breaking compositions has led him to be recognized as one of Britain’s most promising young composers. As such, Adès has enjoyed the privilege of having his music performed by only the highest caliber of musicians. The featured performers in the 2005 EMI Classics release of his Piano Quintet (2001) are no exception. »