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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’.  »

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15 Sep 2005

WEBBER: Phantasia; The Woman in White

Probably the best thing that can be said about Sir Andrew Lloyd Webber, Richard Stilgoe, and Charles Hart’s The Phantom of the Opera becoming the longest running Broadway musical, which it almost certainly will, is that it will take that honor away from Cats. (I am reminded of David Letterman’s comment, made with mock horror, “What if it really is ‘now and forever’?”) Phantom, as it is known both with and without affection, is perhaps Lloyd Webber’s most “traditional” show: it has far more book scenes than his earlier, concept-album-as-musical shows, although the latter, including Jesus Christ Superstar and Evita, are tremendously and, arguably, more effective; it recalls operetta despite its pop-heavy score; and it is based on a novel that is already known through incarnations on stage and screen. Its unabashed romanticism, despite its occasional descent into bathos, has endeared it to millions, many of who see it again and again and continue to be moved by it. So I suppose it was only a matter of time until an arranger came up with an orchestral version of the score to satisfy pop concert audiences and other aficionados of the score. »

15 Sep 2005

THEILE: Arias; Canzonettas

Johann Theile is best known for his significant body of church music and his reputation as “the father of contrapuntists.” It is easy to summon the image of a learned graybeard, well-practiced in contrapuntal art (especially invertible counterpoint, it would seem). This recent recording from Ludger Rémy, however, shows us a less well-known and very congenial side of Theile: the composer of student love songs. »

15 Sep 2005

MONTSALVATGE: Integral de canto

It is unfortunate that audiences tend to pigeonhole Xavier Montsalvatge (1912-2002) as a one-work composer. There is no doubt, however, that the popularity of his Canciones negras has overshadowed the rest of his output. »

14 Sep 2005

SULLIVAN: Cox and Box; Trial by Jury

This new recording of two somewhat early works with music by Sir Arthur Sullivan provides a taste of Sullivan just before and just after the beginning of his famed collaboration with W. S. Gilbert. Cox and Box was produced in 1866. Trial by Jury debuted in 1875, four years after Thespis, Gilbert and Sullivan’s first work as a team. The difference is apparent if not glaring. It is mostly noticeable in Sullivan’s more nuanced response to Gilbert’s libretto, which is far more sophisticated and clever than Burnand’s nonetheless amusing effort. The transition from the end of the earlier work to the opening chorus of Trial by Jury, which immediately places us in the identifiable musical world of G&S, is remarkable. With Burnand, Sullivan is broader in his parodic musical pastiche; with Gilbert, he lets the words take over most of the satire and composes in a subtler, and even more delightful, vein. »

14 Sep 2005

PROKOFIEV: Ivan the Terrible

Prokofiev was one of a number of twentieth-century composers of art music who also devoted a significant amount of time to composing for the cinema. The eight films for which he composed scores were met with varying degrees of success, from the celebrated fame of Aleksandr Nevsky to the frustrated productions of lesser-known films such as The Queen of Spades and Tonya. Sergei Eisenstein’s colossal trilogy Ivan the Terrible, for which Prokofiev composed his final film score, was met with both extremes: Although part one of the film was released in January of 1945 to great critical acclaim, the second part was attacked during production for political reasons, even to the extreme of attracting criticism from Stalin himself. Part two would not appear in theaters until 1958, long after Prokofiev and Eisenstein were gone, and part three was never produced. »

14 Sep 2005

Ouvertüren: Music for the Hamburg Opera

The composers of these overtures — what today we would call suites — range from the world-famous George Frideric Handel to the moderately well-known Reinhard Keiser to the virtually unknown Johann Christian Schieferdecker. The works represented here also cover a range of dates: 1693 for the Ouverture no. 4 by Philipp Heinrich Erlebach to 1726 for the Suite “Ludovicus Pius” by Georg Caspar Schürmann (1672/3-1751), neither of whom have made a noticeable dent in the performance repertoire of today’s early-music groups. »

13 Sep 2005

DONIZETTI: Pietro il Grande

Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819. »

11 Sep 2005

Das Rheingold

Experienced listeners gain nothing but lose very little when a mediocre, even bad performance of Wagner’s stage works is released on DVD.  »

11 Sep 2005

BITTOVÁ: Elida

First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe – there are graphics, ideas, names, and especially musical styles that have become predictably associated with the New York... »

08 Sep 2005

Opera Australia Presents Death in Venice

Since opera began, composers have honoured, or pretended to honour, the principle that the music should serve the words, though, in reality, it is done more in the breach than the observance. »

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. »