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Elsewhere

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Odyssey Opera Presents the Boston Premiere of Le Cid in One-­Night-­Only Concert Event

(Boston, MA) — Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842–1912).

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

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’.


OPERA TODAY ARCHIVES »

Reviews

Heidi Stober as Sandrina and William Burden as the Podesta [Photo by Ken Howard]
30 Aug 2015

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette. »

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08 Jun 2005

Boris Christoff — Lugano Recital 1976

Boris Christoff was, together with Cesare Siepi, the most prominent bass during The New Golden Age of Singing (1945-1975). At the time of this television recording, he was considered somewhat old hat as he had been singing for more than 30 years. During the mid-sixties he was superseded by Nicolai Ghiaurov who, due to his rolling voice and bigger volume, quickly became the hottest ticket in town. Both men were Bulgarians and there was pure hate between them; especially from Christoff’s side. Christoff was a protégé of the deceased king Boris. He studied in Italy and was not allowed to return home after the war when the communists had snatched power. He didn’t even get a visa to attend his father’s funeral. Ghiaurov was sent to Italy by the communists for further study. Their confrontations as Filippo and Grande Inquisitore in a La Scala Don Carlos are still legendary. Nobody had ever witnessed such (real) hatred in that scene. Afterwards, Christoff demanded that Ghiaurov be ousted but sovrintende Ghiringhelli sided with the younger bass and Christoff’s career at La Scala was finished. »

08 Jun 2005

José Carreras at the Sofia Palace of Culture Hall, May, 28, 2005

With Monserrat Caballé’s sensational concert at the same hall in September 2000, this is the second appearance of a famous Spanish opera singer in Sofia. The advertising campaign that started two months ago brought very good results assembling the la crema y la nata de la sociedad. The Sofia Metropolitan Orchestra conducted by David Himenez performed well in the solos: Rossini’s “La gazza ladra” and the intermezzo of Heronimo Himenez’ zarzuella “La boda de Luis Alonso.” José Carreras chose to partner with the young and promising Bulgarian soprano, Zvetelina Maldzanska, to share his triumph in Sofia. »

07 Jun 2005

Grétry's Zémire et Azor in St. Louis

Theatrical magic and cheerful charm abound in Opera Theatre of St. Louis’ new production of Andre-Ernest-Modeste Gretry’s version of “Beauty and the Beast,” seen Sunday evening in its premiere. »

06 Jun 2005

VERDI: Il Corsaro

Alessandro Trovato’s admirably honest and forthright booklet essay (translated by Daniela Pilarz) for this Dynamic release of Verdi’s Il Corsaro goes a long way to explaining why this ranks as one of the master’s least-performed works. »

06 Jun 2005

Angela Gheorghiu at the Liceu

Ahí estaba Angela Gheorghiu, recogiendo la ovación que se llevaba tras cantar el aria Prendi, per me sei libero, de la penúltima escena de L’elisir d’amore. Lo hacía abrazada al tenor Giuseppe Filianoti, a quien consolaba mesándole el pelo. En la escena anterior, Filianoti había cantado Una furtiva lagrima, y lo hizo, ay, con dos espectaculares gallos incluidos. »

05 Jun 2005

Magdalena Kozená in Berlin

Ein gesellschaftliches, aber auch ein musikalisches Ereignis der besonderen Art: auf Einladung der Philharmoniker im Kammermusiksaal neben Sir Simon Rattle sitzen zu dürfen, um gemeinsam mit ihm die zauberhafte Lady Rattle, alias Magdalena Kozená, singen zu hören. Ihr Vortrag glich einem Streifzug durch Kunst gewordene Volkstümlichkeit: einer klingenden Speisekarte der Erinnerungen an die Heimatsprache der Musik. »

05 Jun 2005

SCHUBERT: Die Schöne Müllerin

In some circles, Bostridge isn’t fashionable, perhaps because he achieved success so early, because he didn’t come up through the choirboy route, and, perhaps, most of all because he is so startlingly different. But those with a real interest in intelligent music making would do well to ignore the clichés and really listen to this. It’s an experience to change most perceptions of the cycle, and indeed of Schubert. This is no quaint bucolic romp. The protagonist kills himself, doomed even before he meets the girl. As Bostridge points out, the poet Wilhelm Müller said it should be “im Winter zu lessen.” The songs refer to Maytime and blossoms, but since Nature itself is destructive, this is just seductive sham. This cycle is to read in the spirit of a harsh Prussian winter, not an innocent Austrian spring. Schubert picked up on the inner meaning of Müller’s poetry because he had himself just been diagnosed with syphilis — the AIDS of his era. He had no bucolic delusions. He knew only too well that Nature can turn love into death. »

04 Jun 2005

1984 — Another View

Lorin Maazel has done a very bad thing. Have you heard? He wrote an opera, “1984” (based on the Orwell novel, of course). It was premiered at London’s Covent Garden last month. And he paid for part of the production himself. Very, very bad. »

04 Jun 2005

Carole Farley at Wigmore Hall

We haven’t seen much of American soprano Carole Farley in the UK for a very long time. She was something of a cult figure in the late 1970s and early 1980s, specialising in roles such as Berg’s Lulu and the unnamed woman in Poulenc’s La Voix Humaine at a time when some singers were unwilling to tackle them. »

02 Jun 2005

KILAR: Tryptyk (The Triptych)

Wojciech Kilar (b. 1932) is an exciting composer from Poland, and he may be best known in the West for his film scores, which include Coppola’s Bram Stoker’s Dracula (1992), Polanski’s Death and the Maiden (1994), Campion’s Portrait of a Lady (1996) and others. At the same time, Kilar also composes concert music, and his Tryptyk (1997) is a fine example of his work. Nevertheless, film is a useful point of reference in discussions of his style, since some of the techniques he used in creating effective soundtracks may be found in his other music. »

02 Jun 2005

SCHUBERT: An den Mond — Chants nocturnes

Beyond his song cycles and collections like Schwanengesang, Schubert’s Lieder can be grouped in various ways. In this recording, the baritone Dietrich Henschel and pianist Helmut Deutsch selected twenty Lieder that reflect the ideas of wandering, night, and death, as stated on the jacket copy of this CD. Some of the music chosen is predictably part of this kind of selection, as with “Der Wanderer,” D. 649, “Der Wanderer an den Mond,” D. 870, and “Auf dem Wasser zu singen,” D. 774, while others may be less familiar. The Lieder are from different times in Schubert’s career and include various poets, not only the more famous ones like Goethe and Schlegel, but also figures whose reputation may be attributed to the composer’s settings of their verses. »

01 Jun 2005

Britten's A Midsummer Night’s Dream at Chicago Opera Theater

In its recent performances of Benjamin Britten’s A Midsummer Night’s Dream Chicago Opera Theater affirms its reputation for carefully gauged and well cast productions. Already from the subdued opening accompanied by muted strings an underlying tension is evident in the darting figure of Puck, a spoken role assumed in this production by the actor Jason Griffin. The movements of all the characters in this production are matched consistently to an orchestral or vocal expression, emphasizing thus the union of choreography with lyrical and declamatory effect. Chicago Opera Theater’s presentation divides the action and emotional entanglements of Britten’s three acts into two parts. Soon after the start of the first of these the royal fairy couple, Oberon and Tytania, enter in formal dress. Their disagreement over a youth taken into the service of the queen, yet desired by Oberon, fuels an initial conflict that — by the time of its resolution — will bear on the fates of the other pairs of young lovers in the piece as well. »

01 Jun 2005

VERDI: Nabucco

With Nabucco (1842) Giuseppe Verdi began a long and feverishly productive creative period in his life. More importantly, in this work, largely influenced by French grand opéra, the masses are as important as the soloists. This is one of the reasons why this opera, representing the enslavement of the Hebrews by the Babylonians under the rule of Nebuchadnezzar, was later received as a metaphor of the Austrian political domination of Italy, which the patriots of the Risorgimento were fighting against. Neither the alleged political metaphor (which has been recently questioned by Roger Parker), nor the grandeur of the drama as a series of large tableaux seem to be at the center of the conception of this recent production (Genoa, 2004), staged in a relatively small theater that does not allow choral masses to act dynamically (the soloists overpower the contained choral masses). »

01 Jun 2005

GIORDANO: La Cena delle Beffe

The recording industry has recently been good for Umberto Giordano. We now at last have well recorded performances of Mala Vita (Bongiovanni), Siberia (Gala), Madame Sans-Gêne, Il Re and Mese Mariano (all on Dynamic). Still missing are recordings of his first opera Marina, of Regina Diaz, Marcella (Gigli recorded one aria) and Giove a Pompei. La Cena delle Beffe was somewhat better represented. There was a live performance on MRF-LP and in 1988 Bongiovanni recorded another performance (with Fabio Armiliato) in Piacenza. Both recordings however are no match for the RAI broadcast of the 14th of April 1956 (and not 1955 as the sleeve notes say). That recording was already issued several years ago by the same company (Myto 2MCD002.220). The big difference between both issues is that this first version included an Italian language-only libretto while this new issue doesn’t. That can make a difference for enjoying the recording though Sem Benelli’s Italian libretto is not exactly written in house and kitchen Italian. »

31 May 2005

GOMES: Salvator Rosa

One of the nice features of art in former times was the care-free way artists took in mining the same sources over and over again. Contents and quality were held in higher esteem than an “original” idea. Auber’s La Muette de Portici was still in full swing in many theatres when Antonio Ghislanzoni of Aida-fame concocted a libretto on the same subject: the rising of Naples led by the fisherman Tomas Aniello against the Spanish viceroy in 1647. (Incidentally, it is a legend that La Muette triggered the separatist mutiny that ended the united Netherlands in 1830). And in 1953 composer Jacopo Napoli won third prize in the Verdi composition competition with another Mas’aniello which was duly performed at La Scala. As they couldn’t find a tenor, they asked a youngster, thanked him profusely after the job was done and sent him back home for another two years: Carlo Bergonzi. »

30 May 2005

SALIERI: Tarare

The appearance of a DVD of the Beaumarchais — Salieri Tarare is cause for celebration.  »

30 May 2005

Cherubini's Medea at Toulouse

L’événement du mois, sinon de la saison, vient d’avoir lieu à Toulouse avec la nouvelle production d’un chef d’œuvre trop rarement joué : Medea de Luigi Cherubini. Avec, pour défendre le rôle-titre, l’éblouissante performance d’Anna Caterina Antonacci, couronnant une réalisation de tout premier plan, tant au niveau de l’Orchestre National du Capitole dirigé par Evelino Pidò, qu’à celui des mises en scène, décors et costumes signés Yannis Kokkos. Une réussite exemplaire dont il ne faudra pas rater la reprise au Châtelet de Paris dans le cadre de son annuel festival des régions.* Compositeur majeur, à la fois contemporain de Mozart – il était son cadet de quatre ans – et de Beethoven – né dix ans après lui -, injustement boudé par divers oukases de ces modes qui se suivent puis se démodent, il était l’homme de la maestria absolue, héritier de Gluck, mozartien dans l’air du temps, adepte de la rigueur classique et annonciateur visionnaire du romantisme. Autant d’éléments et de formes qui émaillent son œuvre prolifique (opéras, cantates, messes, sublime musique de chambre) comme Les Cailloux du Petit Poucet. Berlioz le railla, l’admira, l’imita… »