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Elsewhere

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.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.


OPERA TODAY ARCHIVES »

Reviews

Pierre Boulez
27 Jul 2015

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.)  »

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27 May 2005

Arabella at Châtelet

Il y a trois ans, l’Arabella de Richard Strauss mise en scène par Peter Mussbach avait été l’un des points culminants de la saison du Châtelet, mais avait divisé les esprits : certains avaient taxé de froideur le décor étonnant d’Erich Wonder, regrettant sans doute le rococo viennois. C’était oublier que le livret, laissé inachevé par Hofmannsthal, mort d’une apoplexie alors qu’il mettait son chapeau pour se rendre à l’enterrement de son fils, n’a strictement plus rien des stucs du Chevalier à la rose, mais éclaire avec cruauté le monde moderne des années 20 et sa décomposition sociale. Tout cela, ce hall de grand magasin avec ses escalators à l’endroit et à l’envers, le dit aussi bien que des personnages dont le rang social s’effrite sous l’assaut des névroses. Non seulement le spectacle n’a pas vieilli, mais il a gagné en concentration. »

27 May 2005

Fisting Macbeth in Frankfurt

It doesn’t matter who sings what. At some point, someone’s fist is up someone else’s rectum. Some of us were not even sure this was anatomically possible until the nihilistic Catalan director Calixto Bieito took up opera. Now it’s routine. »

27 May 2005

PURCELL: Dido and Aeneas and The Masque of Cupid and Bacchus
GAILLIARD: Pan and Syrinx

This 2-disc recording contains three mid-Baroque English operas, two of them by Purcell. Dido and Aeneas is the well-known ancient Greek story of the widowed Carthaginian queen Dido and her doomed love for the wandering Aeneas, with its most famous aria built on a descending ground bass. The Masque of Cupid and Bacchus is a light-hearted comparison of the joys of love and drunkenness. Pan and Syrinx is a through-sung, one-act English opera on an original text by Lewis Theobald. It premiered at London’s Lincoln’s Inns Fields Theatre in 1718. London’s opera scene was dominated by Italian opera at this time, and it was very successful as an English-language opera. It is the story of the woodland god Pan, who falls for a cold-hearted nymph named Syrinx. Typical of maidens who are about to be ravished when they don’t want to be, Syrinx calls to the gods as Pan attempts to grab her, and she is transformed into a bunch of reeds, from which Pan makes his panpipe, in order to sing her eternal praise and lament her death. »

27 May 2005

Die Zauberflöte at Baden-Baden

In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile. »

26 May 2005

MOZART: Lucio Silla

In December 1772, Mozart completed Lucio Silla on commission for Milan’s Teatro Regio Ducale — his second opera for Milan, after Mitridate. This opera seria is placed in ancient Rome, where Lucio Silla is the absolute dictator. Silla wishes to marry Giunia, the wife of the Roman senator Cecilio, whom he had exiled. After an attempt to assassinate Silla is thwarted, Cecilio is condemned to die. Silla eventually renounces the dictatorship, pardons Cecilio, frees all political prisoners, and gives freedom to the Roman people. »

26 May 2005

Rigoletto at Teatro de la Ciudad

Por primera vez en México y con una producción fastuosa como se ha presentado en Nueva York se presentará en el Teatro de la Ciudad la ópera “Rigoletto” de Giuseppe Verdi. »

26 May 2005

Rigoletto in St. Louis

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park. »

25 May 2005

BACH: Cantatas, Vol. 14 & 15

These two sets of three CDs each are the current installment in Ton Koopman’s monumental complete cycle of J.S. Bach’s cantatas, performed by the Amsterdam Baroque Orchestra and Choir, and produced by his wife, Tini Mathot. The cycle started out in 1995 on the Erato label, but only twelve volumes had been published when Erato was disbanded by its parent company, Time Warner. After searching for another label that would take over his cycle project, Koopman finally applied for a loan and started his own label, Antoine Marchand, which is distributed by Challenge Classics and Allegro. Koopman’s cycle has loosely followed Bach’s original chronological order of performance for the volumes appearing so far (vol. 1-13.) Appearing after a gap of two years since vol. 13, the current two volumes cover cantatas from Bach’s second to third yearly cycles of cantatas for Leipzig (chorale cantatas.) »

24 May 2005

Teresa Berganza: The Spanish Soul

Brilliant Classics’ Teresa Berganza: The Spanish Soul is an outstanding compilation of Spanish songs and cycles by prolific Spanish and Latin American composers, including de Falla, Granados, Turina, Guridi, Toldra, Villa-Lobos, Braga, and Guastavino. The very beauty of this recording is the innate sense of energy in the Spanish style, which both Berganza and pianist Juan Antonio Alvarez Parejo seem to execute effortlessly. Once more, such an extensive collection of well-known compositions alongside rare jewels creates an essential recording. »

24 May 2005

Ivan Kozlovsky: The Great Russian Tenor

This new release from Pearl presents an anthology of Russian selections, primarily operatic, performed by tenor Ivan Kozlovsky (1900-1993). Kozlovsky was one of the giants of the Russian operatic stage during its glory days in the 1940s and 50s; he recorded extensively with Melodiya, both Russian and Western repertoire. Surprisingly, however, there has apparently never been a Kozlovsky Russian anthology available prior to this release (Myto Records released a collection of the singer’s Western operatic hits in 2000). It is gratifying to see it finally here. »

24 May 2005

Arie del ‘700 Italiano (Italian arias of the 18th century)

Featuring nine arias from various eighteenth-century operas and composers, this recording contains a wide variety of dramatic songs, three of which are the recitative and aria “Se cerca, se dice: “I’amico dov’e?” and “Ha keres, ha kerdez: a baratom hol van?” from the opera L’Olimpiade, set by three different composers. Accompanied on period instruments by the Savaria Baroque Orchestra, Monica González does a magnificent job with each of the arias on this disc. She is a former winner of the International “Toti dal Monte” singing competition, and has studied by personal invitation with Dame Joan Sutherland and Richard Bonynge at their home in Montreaux. »

24 May 2005

ADAM: Si J’etais Roi
LEHÁR: Rose de Noël

Accord has gone back to the vaults for an attractively packaged series called “Opérette.” On the evidence of two of the sets, these releases feature recordings made in the late 1950s and early ‘60s. The booklets are entirely in French (and offer no librettos whatsoever), but even a French-challenged persons such as your reviewer can understand the inside front cover, which appears to explain that the recordings are the efforts of “L’Academie Nationale de l’Opérette.” This organization appears to have as its rationale — all right, raison d’etre — the preservation, if not resuscitation, of the great French tradition of light musical entertainments. With bold, bright colors decorating the packaging, the sets come across as delectable candy boxes — but how much sweetness one will enjoy when partaking of the series does depend on a taste for the bouncy, frivolous world of operetta. »

23 May 2005

DONIZETTI: Maria Stuarda

One of the more interesting debates in arts politics in England last century centered on the language in which operas should be performed. While some staunchly favored opera in the original, others maintained that librettos should be translated into the vernacular. The latter side felt strongly that opera in English would nurture a national style of operatic presentation; a more chauvinistic argument suggested that if native composers heard opera in English, they would be more likely to attempt to set original English librettos (which, of course, would come from the pens of similarly inspired writers). Benjamin Britten and W.H. Auden’s Peter Grimes (1945) might be interpreted as representative of such a strategy. In addition, the mounting of vernacular performances also would inspire British performers (and discourage foreign singers who would be less likely to want to relearn a role in a new language). The debate eventually led to the division of operatic labor, with Covent Garden (soon to be renamed The Royal Opera) to perform works in their original languages and Sadler’s Wells (renamed the English National Opera after its move to the Coliseum, where it remains today) to produce works in translation. Thus, it was left up to audiences to decide which they preferred—or, better yet, to enjoy them both. »

23 May 2005

Geistliche arien des norddeutschen Barock (Sacred Baroque arias from North Germany)

This disc features nine compositions by eight composers located in the area of northern Germany from the sixteenth to the early seventeenth centuries. Despite the title, this recording presents sets of sacred compositions for soprano voice and instruments separated by purely instrumental pieces. The disc begins and ends with compositions by Christian Geist (ca. 1640-1711); otherwise, there is a variety of composers and compositions represented here. »

23 May 2005

La Cenerentola at Glyndebourne

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there. »

23 May 2005

Die Zauberflöte at Glyndebourne

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth. »

22 May 2005

I Masnadieri at Liège, 21 May 2005

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers. »

22 May 2005

G&S at Opera Australia

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.” »

21 May 2005

Don Giovanni at Marseille

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about. »

21 May 2005

GOEHRING: Three modes of perception in Mozart — the philosophical, pastoral, and comic in Così fan tutte

According to the book jacket, this is the first major scholarly study of Così fan tutte, considered to be one of Mozart's least-understood operas and librettist Lorenzo Da Ponte's most interesting text.  »