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“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Sweeney Todd at the San Francisco Opera

Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.

Sondra Radvanovsky Stars in the Title Role of Anna Bolena

The First of Three Donizetti Queens She Will Sing at the Met This Season

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

For Odyssey Opera, No Operatic Challenge is Too Great

For a company founded in 2013, Odyssey Opera has an astounding track record. To take on Korngold’s Die tote Stadt is ambitious enough, but to do so within only a year of the company’s founding seems almost single-minded.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Hibla Gerzmava to Debut at Carnegie Hall

The name of Hibla Gerzmava has been famous in the opera world since 1994, when at age 24 the Abkhazian-Russian soprano won the Grand Prix at Tchaikovsky International Competition, entering its history as the first and only vocalist to have been awarded the highest prize.

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

A Chat with Tenor René Barbera

American tenor René Barbera is fast making a name for himself as one of the top bel canto singers in opera houses around the world.



Sony 509248
03 Oct 2015

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.  »

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02 Jul 2005

SCHUBERT: Die Schöne Müllerin

An important thing to realize about this DVD is that it is not so much about Die Schöne Müllerin as about the performers, pianist András Schiff and especially baritone Dietrich Fischer-Dieskau. There are no liner notes about the song cycle itself, and if you want to see texts or translations you watch them go by as subtitles during the performance (you may choose German, English, French, Spanish, Italian, or none.). But, since the cycle is quite well-known, largely through the earlier recordings by Fischer-Dieskau with other collaborators, this omission is not grave enough to detract from the real focus of the DVD: to make publicly available a 1991 performance at the Feldkirch Schubertiade, in which two Schubertiade regulars, Fischer-Dieskau and Schiff, performed together for the first time. The record of the performance is doubly significant because, while Fischer-Dieskau earlier in his career had been one of the preeminent performers of Die Schöne Müllerin, he had not performed it since 1971, and he was to retire from public performance two years later. »

02 Jul 2005

A Review of Kupfer's Production of Der fliegende Holländer

When I was young, my father said: Don’t judge others before hearing them through, listen before interrupting. His advice applies so well to Wagnerian opera, with its potential for diverse interpretation. The greatest works of art have the power to speak beyond restricted parameters of space and time. We may have a preference for one style or another, but when we listen to a new production, it’s a good idea to listen to it for what it conveys on its own terms. Whether we like or dislike something isn’t ultimately the point, for we learn something along the way. »

30 Jun 2005

Rossini's Il viaggio a Reims

When Rossini’s Il viaggio a Reims was rediscovered more than two decades ago, its musical brilliance was immediately recognised. But its almost nonexistent plot, designed to incorporate an abundance of superstars, lent credence to Rossini’s decision to withdraw the opera once it had served its purpose — providing entertainment for the coronation of Charles X of France. Experiencing Il viaggio in the theatre, however, reveals its unconventional drama about a collection of upper-crust Europeans thwarted in their plans to attend the coronation to be an essential strength. The very triviality points up human foibles and, in the context of Rossini’s elaborate music, supplies a source of hilarity. »

30 Jun 2005

Così fan tutte at San Francisco

The San Francisco Opera’s 2004-05 season is winding down in nicely palindromic fashion. The company’s final offering, which opened (or reopened) Friday night at the War Memorial Opera House, is a revival of the handsome new production of Mozart’s “Così fan tutte” that began the season back in September, and its virtues remain essentially intact. »

29 Jun 2005

VERDI: Il Corsaro

The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score. »

29 Jun 2005

Teatro La Fenice: Gala Reopening

The liner notes dryly state that “This was a stringent programme for an opening-concert audience used to lighter fare at such events.” In the past this would surely have been true but together with “Das Regietheater,” there is now a firm tradition in European houses that the reason for their very existence is art, and preferably in its purest form. Audiences are not there to amuse themselves or even to enjoy the music but to ponder on whatever life’s questions may be at that exact moment. They are mightily helped in their endeavours by conductor Riccardo Muti who cannot be caught with a single smile on his face during more than an hour of music making. Therefore a house where five operas by Giuseppe Verdi were premièred cannot be expected to open with such banalaties as Ernani, Attila, Rigoletto, La Traviata or Simon Boccanegra. Even worse would have been a concert with some prominent singers performing well-known arias and duets from these operas. The danger of enjoyment would have been too great. A conductor who reopened La Scala one year later with that immortal masterpiece L’Europa riconosciuta can be expected to make more original choices. Muti preferred lesser known music by maestros who had some ties with the city itself, even with the opera house. »

28 Jun 2005

HENZE: L’Upupa oder Der Triumph der Sohnesliebe

Henze’s magical opera L’Upupa oder Der Triumph der Sohnesliebe (L’Upupa or the Triumph of Filial Love) bears the subtitle, “a German comedy in eleven tableaux based on the Arabic.” The “Arabic” here refers to a traditional dream-tale from Syria, around which Henze crafted his libretto (his first such effort as a librettist). Like dreams, which condense from memory several images (of people, objects, actions) that share underlying characteristics into single composite dream figures, L’Upupa condenses many stories and characters into its over determined images. Far from pastiche, however, Henze’s condensations cohere in a compelling tale. »

28 Jun 2005

Meyerbeer's Les Huguenots at Liège

This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous ‘nuit de Saint-Bartholomée’ (St. Bartholomew’s Day Massacre). One is now almost so used to the excesses of ‘das Regie-Theater’ that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing. »

27 Jun 2005

The Fairy Queen at Aldeburgh Festival

NO FLOTILLA of swans, no dancing green men, no grand descent of the Sun King; in fact no big production numbers at all. Yet this concert performance of Purcell’s The Fairy Queen will be a hard act for the forthcoming Proms appearance to follow. »

27 Jun 2005

Carmen at Styriarte

Vom Bundeskanzler bis zu Deutsch lands Feuilletonistinnen waren alle da. Denn mit Andrea Breth und Ni kolaus Harnoncourt hatten zwei Liebkinder des Kultur-Establishments erstmals gemeinsam eine Musiktheaterproduktion zu erarbeiten. Derartige Kunst-Bande zu knüpfen, ist die nobelste Aufgabe von Festspielen. Womit die “Styriarte” für ihre heurige Eröffnung ein adäquates Zeichen gesetzt hat. Auf der Strecke blieb dabei Bizets “Carmen”; oder zumindest das, was man bisher dafür gehalten hat. »

26 Jun 2005

BARBER: Orchestral Works

EMI has re-released a 2-disc set of some of Samuel Barber’s most compelling orchestral and chambers works on the Gemini — The EMI Treasures label. An album of the same recordings was released in 2001, itself a remastering of original recordings dating from the mid-1980s through the mid-1990s. Disc 1 from both these sets contains music recorded in 1986 and 1988 with the St. Louis Symphony Orchestra conducted by Leonard Slatkin and released in 1990 as a single disc. The second disc of the set contains chamber music of Barber, recorded in 1995. Each time this music has been released it has received positive reviews. See for example, Jon Yungkans’s review on the The Flying Inkpot; the reviews on; or Victor Carr’s review on Classics Today. »

26 Jun 2005

RESPIGHI: Gli uccelli; Il tramonto; Trittico botticelliano

Ottorino Respighi’s reputation as an arranger of early music sometimes obscures the contributions he made in assembling those works into what are essentially new compositions. The carefully planned suite of music from the Baroque era entitled “Gli uccelli” – “The Birds” – is an excellent example of his ability to adapt older compositions into a new context, and in this case juxtapose music by various composers into a cohesive whole. Respighi completed this suite in 1927, and the orchestrations remain effective, over a half a century later. The idiomatic use of the orchestra makes “Gli uccelli” a fine piece for an orchestra to show its ability to perform as a tightly rehearsed ensemble, and this is borne out in the festival performance preserved in this recording. »

26 Jun 2005

Chief Joseph at Berliner Staatsoper Unter den Linden

Das schönste Teil steht als Reklame vor der Tür: einer von Jimmy Durhams Büffeln, gehäutet und skelettiert. Ansonsten hat der indianische Künstler und Bühnenbildner eine Mischung aus Showbühne mit Aussichtspodest und Bahnhofshalle für Hans Zenders neue Chief Joseph-Oper gebaut: Vorn links auf dem teilweise überdeckten Orchestergraben ein Riesenmüllcontainer, aus dem später der kleine Joseph oder auch Hin-mah-too-yah-lat-kekht, was soviel heißt wie “Der Donner, der über die Berge rollt”, kriecht und den Vater befragt, wie das denn sei mit den Weißen, ob sie alle Lügner sind, oder ob man einigen von ihnen wenigstens trauen kann, bevor er selbst das Kommando übernimmt, übernehmen muss. In rotbraunem Siedleranzug, nicht in umbrafarbener Federkluft, geht er dann sinnend durch die Szene. »

24 Jun 2005

LEHÁR: Zigeunerliebe

One of my oldest memorabilia is a programme of a performance of Zigeunerliebe by my father’s operetta company just after the war. It was one of the many amateur companies in Flanders though the title roles were sung by good singers who earned extra money by combining a few companies. I was too young to assist at this performance but a few years later I would be a regular spectator. The moment I could read I was put into service rehearsing my father’s lines. Every time the company put on a new piece I eagerly read the libretto. Most people nowadays think that an operetta is something like a Carmen with a few dialogues but that’s definitely not true. A Lehár operetta always had a lot of spoken dialogue and often had a 50% spoken 50% sung lines balance. Many an operetta lasted 3 hours without including pauses. »

23 Jun 2005

KRENEK: Three One Act Operas

Ernst Krenek is remembered primarily for one work, his jazz opera Jonny spielt auf, which irritated the cultural conservatives in Germany and Austria in the years between the wars and helped ensure his exile to America during the Nazi era. If an opera strewn with jazzy tunes and a romantic black hero wasn’t enough to tick off the right wing, he turned to serialism for his magnum opus, the anti-Nazi, pro-Austrian Karl V (Charles V, whom you’ll remember from Verdi’s Don Carlo). »

23 Jun 2005

CARISSIMI: Oratorios

Two recent CDs of Carissimi oratorios provide the listener the opportunity to compare very different “takes” on the composer’s remarkable works, which exemplify the sophisticated and exclusive style cultivated by the cardinalate nobility in mid-seventeenth-century Rome. Carissimi’s oratorios survive in manuscript only, and with relatively sparse indications concerning instrumentation; it has long been a challenge for contemporary performers to balance the need for dramatic clarity with the desirability of sonic variety, and the two groups featured on these CDs take different approaches to that challenge, each with fruitful results. »

22 Jun 2005

La Bohème at Covent Garden

This production of Puccini’s classic, originally directed by John Copley, began life in 1974 and is now the oldest in the Royal Opera’s repertory. It’s still serviceable in its old-fashioned way, at least when lit with sufficient discretion to hide its increasing shabbiness. »