Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

Jean-Paul Scarpitta in Montpellier

I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy.

Interview: Tenor Saimir Pirgu — From Albania to Italy to LA

Maria Nockin interviews tenor Saimir Pirgu.


OPERA TODAY ARCHIVES »

Reviews

Anke Vondung as Dulcinea and Ferruccio Furlanetto as Don Quixote [Photo by Ken Howard]
15 Apr 2014

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

 »

Recently in Reviews

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14  |  15  |  16  |  17  |  18  |  19  |  20  |  21  |  22  |  23  |  24  |  25  |  26  |  27  |  28  |  29  |  30  |  31  |  32  |  33  |  34  |  35  |  36  |  37  |  38  |  39  |  40  |  41  |  42  |  43  |  44  |  45  |  46  |  47  |  48  |  49  |  50  |  51  |  52  |  53  |  54  |  55  |  56  |  57  |  58  |  59  |  60  |  61  |  62  |  63  |  64  |  65  |  66  |  67  |  68  |  69  |  70  |  71  |  72  |  73  |  74  |  75  |  76  |  77  |  78  |  79  |  80  |  81  |  82  |  83  |  84 
11 May 2005

BRUBECK: Songs

This problematic recording is another in Naxos’s “American Classics” series, an important body of releases that demonstrates the broad reach of American music across two centuries. While some of the recordings are decidedly novelties, they are welcome as such. William Henry Fry’s “Santa Claus” Symphony, for instance, deserves to be heard as well as mentioned in textbooks. The songs of Dave Brubeck, however, are certainly more than novelties, despite their not being as well known or as widely heard as the music of his justly famous quartet. »

10 May 2005

Ernani at Parma

No city is more closely identified with Verdi than Parma – the urban centre closest to the composer’s rural home – and it polishes its image with an annual Verdi festival. As Parma is also home to the National Institute of Verdi Studies, scholarly gatherings play a role, and several visiting orchestras appear. But the festival’s mainstay rests in the Teatro Regio with two new opera productions. »

10 May 2005

Mara Zampieri: A Tribute to Verdi

The recurring practice in classical recording studios is “re-mastering” recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who released only a handful of commercial recordings and no personal compilations. Myto’s new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently. »

10 May 2005

Rossini's Il Barbiere at Münchner Rundfunkorchester

Das war ein Ensemble! Musikalisch ganz auf Rossinis Spur. Und komödiantisch? Da reichten 50 Quadratzentimeter pro Person, um anzudeuten, was auf einer Opernbühne abgegangen wäre. Denn leider handelte es sich beim jüngsten Münchner “Barbier von Sevilla” nur um eine konzertante Aufführung. Wieder einmal trumpfte das Münchner Rundfunkorchester mit der Oper auf. Diesmal nicht mit einer Rarität, sondern mit einem Top-Ensemble, das eigentlich von Vesselina Kasarova als Rosina angeführt werden sollte. Doch für die Erkrankte sprang kurzfristig Elina Garanca ein und sahnte – zusammen mit ihren Kollegen – beim Sonntagskonzert im Gasteig mächtig ab. »

10 May 2005

Shostakovich's Moscow, Moscow at the Wiener Kammeroper

Sascha und Mascha, jung verheiratet, treffen einander einmal täglich ir gendwo in Moskau und träumen von einer eigenen Wohnung. Semjon Semjonowitsch Baburow und seine Tochter sind obdachlos geworden – das alte Haus in der “Warmen Seitengasse” ist eingestürzt. Der Sprengstoffexperte und “Dissident” Boris möchte nach Jahren fern von Moskau hier seine große Liebe finden. Und da sind dann noch Sergej und seine angebetete, stramm linientreue Bauarbeiterin Ljusja, auch auf der Suche nach einer Bleibe. »

10 May 2005

Tales of Hoffmann at Seattle

Jacques Offenbach’s “The Tales of Hoffmann” has to be one of the most problematic and untidy operas in the international repertory. Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound—since the score was unfinished at the time of the composer’s death—as well as different opinions, almost by definition, about what should and should not be included in any performing edition. »

09 May 2005

Handel's Aci, Galatea e Polifemo in London

The Grand Tour, whereby wealthy Britons travelled through Europe, in particular Italy, imbibing culture at its fountainhead, is the theme of this year’s Lufthansa Baroque Festival. The opening concert focused on Handel, whose reasons for going to Italy were professional, and whose route was unusual. German-born and trained, Handel spent four years in Italy in his early 20s, learning everything he needed to know about the Italian style, and particularly how to write Italian opera. Moving to London, he became its leading purveyor to English audiences for 30 years. »

09 May 2005

Der Ring Along the Amazon

MANAUS, Brazil, May 8 – Richard Wagner set his fantastical world of Valkyries, gnomes and giants along the Rhine, not the Amazon. But this is a city with a long history of thinking large and even outlandishly, which is how the Amazonas Opera Festival here has ended up staging Wagner’s sprawling four-part “Ring of the Nibelungen” cycle in the heart of the world’s biggest rain forest. »

09 May 2005

Margaret Garner Premiere

DETROIT, May 8 – Grand opera is happiest when the issues are big and little neutral ground stands between good and evil. What better topic than American slavery and its aftermath? The Michigan Opera Theater’s premiere performance of “Margaret Garner” on Saturday night had heated the passions, stirred guilt and broken a lot of hearts before a word or a note was written. »

09 May 2005

WEILL: Die sieben Todsünden

A new recording of Kurt Weill’s (1900 – 1950) ballet chanté, Die 7 Todsünden (1933) featuring Anja Silja and the SWR Rundfunkorchestra Kaiserslautern and conducted by Grzegorz Nowak, has recently been made available in the U.S. on the Hässler-Classic label. Also included on the CD is Weill’s Quodlibet, opus 9 (1923) — an orchestral arrangement taken from his 1922 children’s pantomime, Zaubernacht. »

09 May 2005

ZANDONAI: Francesca da Rimini

Strange to think that Magda Olivero has to thank Renata Tebaldi and Maria Callas for two of her best known live recordings. Tebaldi cancelled the famous Adriana Lecouvreur performances in Naples 1958 (Corelli, Bastianini, Simionato) and La Scala originally wanted Callas as Francesca da Rimini. Twice Olivero substituted and made the role so much her own that whenever one of these operas pops up in a conversation so does Olivero’s name. Contrary to Adriana, Francesca was not a staple in the soprano’s repertoire. She sang a few performances with Alessandro Ziliano and Tullio Serafin in Torino in 1940 and only returned to the role 19 years later for her second and last run of Francescas. »

09 May 2005

Lamentations and Messiah

The Brilliant Classics label has been releasing budget priced recordings on CD for some time now, many to high praise. Complete symphony cycles (for example, of Shostakovich and Bruckner) have been favorably compared in some publications to those from major labels featuring star conductors and top orchestras. »

09 May 2005

ESCUDERO: Illeta

The Basque region of Spain is known as a unique cultural enclave. Within its confines thrives a rich artistic heritage. Composer Francisco Escudero has become one of the most famous 20th century composers from the region. His avant-garde sound blends many eclectic styles with elements of traditional Basque music. »

07 May 2005

Cavalli's La Calisto in Munich

Das Amt des Hausregisseurs gibt es an der Bayerischen Staatsoper offiziell nicht. Wenn aber einem diese Funktion gebührt, dann ist es David Alden. Über ein Dutzend Inszenierungen hat der New Yorker hier bereits herausgebracht. Seine aktuelle Regie: Francesco Cavallis Barock-Oper “La Calisto”, die am Montag im Nationaltheater ihre Münchner Erstaufführung erlebt. Ivor Bolton dirigiert. Das Stück erzählt von der Nymphe Calisto, in die sich Jupiter verliebt. In Gestalt der Göttin Diana bandelt er mit ihr an – was die Gattin natürlich übel nimmt. »

07 May 2005

Missa Solemnis in London

‘The day on which a High Mass composed by me will be performed during the ceremonies solemnised for your imperial highness will be the most glorious day of my life,” wrote Beethoven in 1819 to Archduke Rudolph, the youngest brother of the Holy Roman Emperor Franz I and his composition student. Rudolph had just been elected archbishop of Olmütz in Moravia, and Beethoven was to write a setting of the mass for the installation the following year. In the event, however, the Missa Solemnis would take Beethoven five years to write and would be one of the grandest and most complex works of his later years. It is also one of the hardest of all musical works to perform. When Harmonia Mundi produced a live recording of the piece, conducted by Philippe Herreweghe, there were many who felt that this was the first time they had heard a performance that had the full measure of the work. This weekend he brings the same forces, the Collegium Vocale Gent and the Orchestre des Champs-Elysées to perform it in London. »

06 May 2005

La Wally in Düsseldorf

Düsseldorf. Die “Geierwally” als Oper lässt ein Alpendrama mit deftigem Lokalkolorit vermuten. Die Düsseldorfer Erstinszenierung von Alfredo Catalanis “La Wally” bot stattdessen die Seelenstudie einer sexuell frustrierten Gesellschaftsdame, die mit ihrem Wohlstand nichts anzufangen weiß, weil sich ihr der Mann verweigert, den sie liebt. Das Premierenpublikum folgte dieser Umdeutung bereitwillig, jubelte ihr nicht ohne die Lust der Wiedererkennung begeistert zu. »

06 May 2005

Magic Flute in Brussels

Durant les riches années passées à la tête de la Monnaie de Bruxelles, Bernard Foccroulle aura élargi la palette de la mise en scène d’opéra, en faisant appel à des chorégraphes ou à des plasticiens. Ainsi, l’homme de théâtre et dessinateur, le Sud-Africain William Kentridge, grand inventeur d’images fixes et animées. Si l’alchimie se fait entre l’univers visuel du créateur et l’oeuvre qu’il met en scène, cela peut renouveler la question. Dans le cas contraire, on a l’impression de voir, pour paraphraser Godard, non pas «des images justes», mais «juste des images». C’est ce qui se passe avec La Flûte enchantée vue par Kentridge. »

06 May 2005

Soile Isokoski at New York's Zankel Hall

With a voice at once silvery and dark, compact yet ripe with overtones, soprano Soile Isokoski is in increasing demand as a Wagner and Strauss interpreter. New York so far has heard her primarily in Mozart and French opera, most recently as an achingly poignant Rachel in Halévy’s “La Juive” and as Marguerite in the Metropolitan Opera’s glitzy new staging of Gounod’s “Faust.” »

05 May 2005

Un Ballo in Vancouver

Once upon a time, Masked Ball might have made sense. Back in the 1850s, when Giuseppe Verdi wrote it, he based his story on the assassination of Sweden’s King Gustavus III. A despot, cuckold, and philanderer, Gustavus further alienated himself from his subjects by claiming the exclusive right to produce aquavit, and was shot by one Jacob Johan Anckarström at a costume party in 1792. »

05 May 2005

The Very Best of Beverly Sills

EMI Classics’ release of The Very Best of Bevery Sills is a mixed bag. Unlike similar EMI compilations of Maria Callas, Mirella Freni, or Lucia Popp, who all present an array of signature arias or art songs, this release should be re-titled Some of Beverly Sills’ Opera Scenes and a Few Arias. Though Sills performs with an impressive cast, including Alfredo Kraus, Nicolai Gedda, Sherrill Milnes, and Samuel Ramey, this recording would be much more satisfying if is showcased more of signature Sills. »

04 May 2005

BIZET: Carmen

I still remember the incredible excitement in the early 1970s when DGG issued recordings featuring the young conductor, Carlos Kleiber (1930-2004). Both the Weber Freischütz and Beethoven Fifth Symphony showcased the craft of an extraordinary talent, an artist capable of making even the most familiar music sound fresh, spontaneous, and new. Music lovers hoped that this son of the great conductor Erich Kleiber would be a constant presence, both in the concert hall and opera house. »