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L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

John Taverner: Missa Corona spinea

This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



27 Nov 2015

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.  »

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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


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… »

30 May 2005

Falstaff in LA

LOS ANGELES, May 29 – Portraying the title role of Verdi’s “Falstaff,” which opened at the Los Angeles Opera on Saturday, the bass-baritone Bryn Terfel is so irascible, nimble on his feet and altogether charming that he almost makes you forget how splendidly he sings the music. Yes, this Falstaff is a blowhard, a bald and broken-down knight, and a shameless moocher. »

29 May 2005

Mozart and Gluck in London

Did Mozart really think Cosi Fan Tutte was a comedy? Matthew Warchus didn’t seem sure when he created his ENO staging three years ago; but, even if Steven Stead’s revival doesn’t milk every gag in Jeremy Sams’ wonderfully witty translation of Da Ponte’s libretto, there are enough laughs to make you think he might have done. »

29 May 2005

Voigt and Heppner at Cincinnati's May Festival

Friday will go down in the annals as one of the most spectacular opera evenings ever at the May Festival. Two of the world’s greatest Wagnerian singers, soprano Deborah Voigt and tenor Ben Heppner, came together for the first time in Act II of “Tristan und Isolde,” a concert performance under the baton of James Conlon in Music Hall. It was one of those rare moments of music making that one feels lucky to witness, and the hall erupted in cheers for nearly 10 minutes at its conclusion. »

29 May 2005

TCHAIKOVSKY: Eugene Onegin

Recently released by TDK, this version of a Tchaikovsky classic was recorded at the Bolshoi Theater in October 2000. Directed by Boris Pokrovsky and conducted by Mark Ermler, the production features Maria Gavrilova as Tatiana, Nikolai Baskov as Lensky, Vladimir Redkin as Onegin, Yelena Novak as Olga, and Aik Martirosyan as Gremin. It is very much a live recording, complete with curtain calls and screaming fans who cheer their favorites after practically every number (to the performers’ credit, there are no encores!). »

28 May 2005

BELLINI: I Puritani

Bellini’s last opera has had its share of classic performances on stage and in studio, but it has not truly challenged the prominence of the reigning work of this bel canto master, Norma. The Druid princess remains such an attraction both for sopranos who aspire to greatness and to audiences who relish its dramatic power that it alone of all Bellini’s works maintains a firm position in the standard repertory. »