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Elsewhere

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

A New Opera Company with a True Story of Forbidden Love

Victory Hall Opera is a new company making its debut in Charlottesville Virginia on August 14, 2016. Its first presentation will be Richard Strauss’s and Hugo von Hofmannsthal’s Der Rosenkavalier.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

Siegfried, Opera North

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.

Götterdämmerung, Opera North

The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.


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Reviews

<em>Béatrice and Bénédict</em>, Glyndebourne
25 Jul 2016

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.  »

Recently in Reviews

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15 Jul 2005

MAHLER: Symphony No.8 in E-Flat

Every so often there appears a recording so good, so almost revelatory, that we find ourselves re-examining the work recorded and our relationship to it, no matter how well we thought we already knew it. Ian Bostridge and Julius Drake’s recording of Schumann’s Dichterliebe was one of the more recent recordings to do this. Now we have Kent Nagano’s amazing reading of (and Harmonia Mundi’s equally amazing engineering of) Mahler’s massive Symphony No. 8. Many excellent recordings of this work already exist, and all of them bring a number of insights and extraordinary performances to the work. None of them, however, quite equals Nagano’s overall vision of the work, and no recording of the symphony can match the impressive acoustic accomplishments found here. »

15 Jul 2005

HELLER: Emblems of Eloquence — Opera and Women’s Voices in Seventeenth-Century Venice

In her awesome Emblems of Eloquence, Wendy Heller tirelessly investigates treatises, myths, libretti and letters to illuminate the natures of “real” and “imagined” women who reigned over seventeenth-century opera as subjects of musical portraiture. From Dido to Semiramide, Poppea to Calisto, Heller argues that women and women’s issues dominated the Venetian stage. Librettists struggled with issues of women’s sexuality, dominance, suppression of desire, overt desire, covert desire, homoeroticism and misogyny. And all at the time when, “Venice’s absolute exclusion of women in public life was written into the organization of the Republic.” This apparent contradiction is at the heart of her eminently readable text that displays Heller as a musicological Simon Schama. »

15 Jul 2005

RACHMANINOV: Symphony No. 1 in D minor, Op.13; The Isle of the Dead, Op.29.

The initial reception of Rachmaninov's Symphony No. 1 marked an unhappy yet decisive moment in the composer's life, one that propelled his stylistic development and the trajectory of his career in new directions. »

15 Jul 2005

MOZART: Don Giovanni

This staging of the Mozart/da Ponte masterpiece took place in 1977, at the Glyndebourne Festival. Although the conductor is Dutch, and members of the cast come from Eastern Europe and the States, a more British performance would be hard to imagine. »

14 Jul 2005

Il barbiere di Siviglia at Festival d'Aix-en-Provence

Like Glyndebourne, Aix treats Mozart and Rossini as “house” composers, but Rossini has traditionally taken second place. This summer, in Provence as much as in Sussex, Rossini comes off better. After its two disappointing Mozart productions in the Théâtre de l’Archevèche at the weekend, the Aix festival decamped to the gardens of a dilapidated but enchanted estate outside the town for an evening of pure joy, courtesy of a new Barber. »

09 Jul 2005

ALFANO: Cyrano de Bergerac

Franco Alfano is best known for having composed the standard ending to Puccini’s Turandot. But he wrote some 12-13 operas under his own name as well. A few of these are revisions of earlier operas. The most familiar of his works have long been La resurrezione (1904), Sakuntala (1922, revised 1952) and Cyrano de Bergerac (1936). Cyrano seems to be coming into its own in the last few years, what with a performance in Kiel and a revival planned for Montpellier in 2003. The latter was cancelled due to strikes (although it was filmed anyway). This was followed by a few performances at the end of the 2004-5 Metropolitan Opera season, with more performances planned at Covent Garden in 2005 and the Met for the 2005-06 season. It is very much the tenor’s opera, with the revival (that never really happened as far as the general public is concerned) in Montpellier featuring Roberto Alagna, and that at the Met featuring Placido Domingo, now approaching the end of a fantastic career. He is also scheduled to sing it at Covent Garden, and again at the Met next year. It is my understanding that Alagna will also sing some additional performances. »

09 Jul 2005

FELSENFELD: Benjamin Britten and Samuel Barber: Their Lives and Their Music

The second in a series called Parallel Lives, this book consists of a series of essays by one author. The same Daniel Felsenfeld also authored the first in the series, which set Charles Ives and Aaron Copland side by side. By comparison to that juxtaposition only, Britten and Barber make an intriguing and appropriate pair for analysis. Felsenfeld's book, however, is slim yet repetitive, and far from stylishly written. The inclusion of a CD of selections from Naxos recordings of both composers may, however, make the volume of interest to some readers. »

08 Jul 2005

STRAUSS: The Complete Songs, Vol. 1

Among the best-known works of Richard Strauss is his set of Vier letzte Lieder, the so-called four “last” songs. These are just a fraction of the music he composed in this genre, with over 200 songs for voice and piano, and around fifty of them arranged with orchestral accompaniment. The prospect of a new series of complete songs is promising, and it should augment the various recorded selections of his Lieder that are currently available. »

07 Jul 2005

Vanessa at Central City

Central City – Perhaps because of its home in a small, historic mining town far from the two coasts, Central City Opera has long championed American opera. »

07 Jul 2005

Lucie de Lammermoor at Glimmerglass

There is one splendid reason to see Gaetano Donizetti’s “Lucie de Lammermoor” at Glimmerglass Opera this season, and her name is Sarah Coburn. »

07 Jul 2005

BRITTEN: Folk Song Arrangements

Britten’s folksong arrangements, which span much of his career from 1943 to 1976, provide unique insights into the composer’s oeuvre. Having been strongly encouraged by his teacher, Frank Bridge, to at all times be true to himself and to develop his own voice, one might expect Britten to eschew the folksong tradition, which had been so used (and misused?) by the generation before him. But Britten, following more in the line of Grainger than Vaughan Williams, voiced his distinctive style in these arrangements with appealing results. Sometimes making merely subtle changes and the simplest of accompaniments, Britten’s arrangements display artistic grace and sensitivity that has made them some of the most beloved choices of singers and audiences alike. »

06 Jul 2005

HÄNDEL: Admetus, King of Thessaly

Handel's Admeto premiered in London in 1727 at the King's Theater and was an unambiguous critical and popular success. It had an initial run of nineteen performances between January 31 and April 18 of 1727, each of which was attended by King George I.  »

06 Jul 2005

Mitridate, re di Ponto at Covent Garden

I can only dimly imagine how this singular and arresting production was first greeted at Covent Garden back in 1991. To this newcomer’s eye it is still both amazingly original in its design and concept, and yet also oddly frustrating. Essentially, director Graham Vick and designer Paul Brown and their team created a world, half historic, half fantastic, and one is left with a visual memory replete with starkly simple blood-red sets, kaleidoscopically coloured bizarrely shaped costumes and arrowed shafts of silver light, almost painfully reflecting from armoured breastplates. The time is about 65 BC and the world is one of an old Asia Minor versus a rising Rome, with an ageing King Mitridate fighting off both martial and sexual invasions of his territories. The heavy, stylised, costumes — extravagant to the point of caricature — are in themselves a theatrical tool that both enable and yet also constrain the drama of this young Mozart’s early work. If the singers were disadvantaged physically by what they were wearing, they didn’t seem to show it — although to be fair none had to move at anything more than a dignified pace. It was the supporting actors/dancers, Kabuki-like, who supplied the human activity — including a memorable “a capella” rhythmic foot-stamping war-interlude. All other dramatic extremes — be it fevered love declaration, jealous rage or elegant death — was conducted in an almost balletic minimalism of physical effort. »

06 Jul 2005

HURWITZ: Getting the Most Out of Mozart: The Vocal Works

The investment of money, not to mention time, to listen carefully to a complete opera can be intimidating for some uninitiated listeners. After all, operas can be quite long and — with all that strange singing in a foreign language — could be incomprehensible, and therefore less than enjoyable. Opera still carries the cachet in our culture of being the pastime of the wealthy, the educated, and the elite. References to opera in popular culture, such as ads or music videos, signify a different world of privilege and exclusion. »

06 Jul 2005

ZELENKA: Die Responsorien zum Karfreitag
TUMA: Sonatas in A minor & E minor; Sinfornia in B major

In the Baroque era, the liturgical intensity of Holy Week and the affective richness of its themes would find a powerful echo in the music of various European chapels. Old-fashioned counterpoint on antique models would solemnify the sound, while the expressive harmonic freedoms of the day would bring the affective sense of words and themes into sharp focus. This dual path is much in evidence in the Responsories for Good Friday by Jan Dismas Zelenka, recorded here by the Czech ensembles, Boni pueri and Musica Florea. »

05 Jul 2005

La Bohème in Zurich — Two Reviews

Giacomo Puccini’s “La Boheme” is really a winter piece. It is the cold and the dark that draw seamstress Mimi together with poet Rodolfo. Christmas in Cafe Momus brings the illusion of warmth, though not even the spring of the last act can take the chill from dying Mimi’s hands. »

05 Jul 2005

Giulio Cesare at Glyndebourne — Four Reviews

LEWES, England, July 3 – Glyndebourne’s achievements are too various for one to speak of a company style, but there is certainly a Glyndebourne scent: of excellence and elegance, of singers and musicians enjoying at once the freedom gained by thorough rehearsal and the intimacy of a small, warm house. And its waft is strong, luxurious and exciting around the new production of Handel’s “Giulio Cesare,” which opened on Sunday afternoon. »

04 Jul 2005

Turandot at Santa Fe

The Santa Fe Opera waited almost 50 years to mount Puccini’s final opera, Turandot—a warhorse of a work full of color and pageantry, and a heart-breaking love story. Puccini died before he could finish the work, whose story comes from myth and fable. »