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Elsewhere

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

On The Death of Klinghoffer

This is a revised version of my review of the Sept 5th 1991American premiere of The Death of Klinghoffer, at the Brooklyn Academy of Music. The opera was first performed at Brussels’ La Monnaie the previous spring.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.


OPERA TODAY ARCHIVES »

Reviews

Amanda Majeski as Countess Almaviva, Marlis Petersen as Susanna, Ildar Abdrazakov as Figaro, and Peter Mattei as Count Almaviva [Photo by Ken Howard/Metropolitan Opera]
28 Oct 2014

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece »

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20 Apr 2005

Gounod's Faust at the Met — A Preview

Tomorrow night, the Metropolitan Opera unveils a new production of Charles Gounod’s “Faust,” its sixth. The musical expectations are high. James Levine, the Met’s music director, is conducting the opera for the first time, leading an international A-list cast: the French-Sicilian tenor Roberto Alagna as Faust, one of his signature roles; the Finnish soprano Soile Isokoski as Marguerite, the innocent he seduces and abandons; the German bass René Pape as Méphistophelès, an eagerly anticipated role debut; and the Russian baritone Dmitri Hvorostovsky as the soldier Valentin, Marguerite’s brother. »

20 Apr 2005

Menotti's The Consul in Arizona

Even though no sensation-hungry opera director has tampered with Gian Carlo Menotti’s The Consul to “update” the work in today’s all-too-common effort to make opera “relevant” to modern audiences, this half-century-old opera has not lost one iota of such relevancy. »

19 Apr 2005

Sir Thomas Allen: Great Operatic Arias

Some 20 years ago I ended my subscription to Opera Magazine after an article by its editor, the late Harold Rosenthal. He had written a review of La Clemenza di Tito that described tenor Stuart Burrows in words that, for those who did not attend the performance, they had missed the second coming of Enrico Caruso, Jussi Björling and Beniamino Gigli in one person. I had attended and I knew that Rosenthal and his colleagues could be almost funny in their chauvinism but enough was enough. Well, I’m happy to report the old tradition still lives on. I looked at some reviews of this recital by British critics and Giuseppe De Luca, Tito Gobbi and Robert Merrill in their heydays would have been proud of such notices. »

19 Apr 2005

The Cambridge Companion to the Lied

Books described as a "Companion" to this or that and published by university presses should be required to come with a Reader Beware label. As is the case with many books put out by university and many for-profit publishers, the main reason for publishing these is to advance the tenure and promotion prospects of the authors. This is not a bad thing, except that all too often the books aren't very good. »

18 Apr 2005

Muti in New York

Riccardo Muti, the Italian conductor, has been much in the news lately, having quit La Scala – that is an interesting story. But that is not today’s story: Mr. Muti was in New York last week, for a subscription series with the Philharmonic. On his program were two seldom-heard works, the first more seldom heard than the second: Goffredo Petrassi’s “Coro di morti” (“Chorus of Dead Ones”) and Liszt’s “Faust Symphony.” Saturday’s was a concert of the highest order. »

18 Apr 2005

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer

For whom is this fine CD? It is published by Hänssler Verlag; a publishing house that specializes in Christian literature and that has a classical record branch as well. »

18 Apr 2005

Anna in Köln

KÖLN. Als Anna Netrebko ihre Stimme zum silbernen Mond hob wie Rusalka in der gleichnamigen Märchenoper Antonín Dvoráks, tönten die ersten Bravi der 8000 Gäste in der Großoper Kölnarena. Annas Aufstieg ist märchenhaft verlaufen; von Kälte, dem Problem der Nixe Rusalka, war in der gut geheizten und besuchten Halle keine Spur, und einen Prinzen musste sie nicht verführen, sie hat ihn einfach angerufen. José Cura, der gut aussehende und zudem stimmgewaltige Tenor aus Argentinien, war der Einladung gern gefolgt. »

17 Apr 2005

Nabucco at Opera Australia

Despite Nabucco’s rudimentary plot and underdevelopment of its subsidiary characters, its dignity is maintained through its music, which, although still primitive by Verdian standards, already shows signs of the greatness to come. »

17 Apr 2005

Michelle DeYoung in Chicago

Michelle DeYoung, to seriously understate the fact, looked radiant. The first of three performances as Sieglinde and Waltraute in Lyric Opera of Chicago’s hugely successful production of Wagner’s “The Ring of the Nibelung” was behind her, and the American mezzo-soprano seemed to be counting the minutes until she would be back on the Civic Opera House stage making passionate love to Placido Domingo, Siegmund to her Sieglinde in this production. Her cloud of long, crisply crinkled blond hair caught the light like an angel’s aureole as she settled into a conference room backstage at Lyric. She was revved up to talk about her transformation from a Colorado-reared, conservative Christian teenager whose chosen life goal was to marry and have lots of children into an opera singer in demand across the United States and Europe. »

17 Apr 2005

La Vie parisienne at Théâtre Silvia-Monfort

Fondé en 1985 par Olivier Desbordes, Opéra Eclaté Midi-Pyrénées est bien connu des amateurs d’art lyrique qui fréquentent, au mois d’août, le festival de Saint-Céré (Lot). Cette compagnie nationale de théâtre musical, fixée depuis 1996 à Tarbes (Hautes-Pyrénées), trouve toutefois sa raison d’être dans une décentralisation qui s’est traduite pendant vingt ans par plus de 900 représentations données en France et à l’étranger. »

16 Apr 2005

García's L'isola disabitata at Wake Forest University

The second of two performances of Manuel García’s L’isola disabitata (The Uninhabited Island) in WFU’s Brendle Recital Hall on April 8 was a happy marriage of musicological scholarship and practical vocal pedagogy. I am familiar with Teresa Radomski’s work as an opera and oratorio soloist; the focus of her scholarship – the careful transcription of manuscripts and the creation of a performing edition of a salon opera by García – was fascinating. Her splendid program notes place the work in its historical context and recount aspects of her research. She transcribed the score from a complex original manuscript in the Bibliothèque Nationale (Paris) while on research leave. With her brother, musicologist James Radomski, she completed a critical edition of the opera which is being published by A-R Editions, Inc. »

15 Apr 2005

Lotte Lehmann: “Frauenliebe und Leben” — Works by Schumann, Brahms, Schubert and Sacred Songs

Of all the singing geniuses of the 20th century, Lotte Lehmann is among the forefront. Though not blessed with the most beautiful voice or impressive technique, Lehmann knew how to reach her audience through unmatched musical interpretation and expression. She was able to win the love of her audience, and now, almost a century from the start of her career, the world continues to sing her praises. »

15 Apr 2005

Ariodante in Vienna

Am 8. Jänner 1734 wurde erstmals eine Oper von Georg Friedrich Händel am Royal Opera House in Covent Garden gespielt. “Ariodante” hieß sie – und wurde ein voller Publikumserfolg. Bald darauf fiel das Werk in einen 200-jährigen Dornröschenschlaf. Erst ab 1927 erlebte es eine Renaissance, wurde in Stuttgart gespielt, an der Berliner Staatsoper, beim Salzburger Pfingstfestival. In Wien war die opera seria, die auf demselben Stoff beruht wie Shakespeares “Viel Lärm um nichts” (auf “Orlando furioso” von Ariosto), noch nie zu sehen. »

15 Apr 2005

DUNSBY: Making Words Sing: Nineteenth- and Twentieth-Century Song

In Making Words Sing, Jonathan Dunsby investigates what he calls the "vocality" of song, that is, the "quality of having voice," as the author states in the introduction to his study. By using this perspective, Dunsby focuses on the intensification of the text that occurs when words are set to music, which stands in opposition to the kind of "songfulness" that Lawrence Kramer discussed in Musical Meaning: Toward a Critical History (Berkeley, CA: University of California Press, 2002). »

15 Apr 2005

English Choral Music

One has to wonder if the number of recordings of English choirs singing English choral music will ever reach a saturation point. This Naxos double disc by the Choir of St. Johns College, Cambridge, may very well signify such a moment through its attempt to chronicle the succession of English choral music from the 19th century to the present. The choir of men and boys sings gloriously, nearly equaling their more famous sister choir at King’s College, yet the musical montage is rather unusual. »

14 Apr 2005

Tristan at Paris

PARIS, April 13 – Huge, dense, taxing, with almost all the action taking place in the heart, Wagner’s “Tristan und Isolde” is notoriously difficult to stage. Indeed, the composer himself abandoned his first attempt in Vienna in the early 1860’s after no fewer than 77 rehearsals. Now, in a daring experiment, the Paris National Opera has invited the American video artist Bill Viola to accompany the work with his own visual commentary. »

14 Apr 2005

Masked Ball at Covent Garden

The aesthetics of this new staging have been determined by a co-production deal with Madrid and Houston, rather than by any wish to explore Verdi in a modern context. Like La forza del destino earlier this season, it is an old-fashioned singers’ show – safe, bankable, peppered with big-house spectacle but oblivious to the characters’ psychology and Verdi’s elegantly crafted dramatic situations. The onus for making those situations come alive once again falls on Antonio Pappano. »

13 Apr 2005

WAGNER: Tristan und Isolde

After playing a few tracks I was reminded of the late Harold Rosenthal’s review of a 1973 Callas and Di Stefano-concert in his own Opera Magazine: “This is one of the saddest reviews I ever had to write.” »

13 Apr 2005

RANDALL & DAVIS: Puccini & the Girl

"Puccini & the Girl" is a rare and engrossing work of scholarship that can be enjoyed on several levels. For the Puccini-lover, to say nothing of one who has a special interest in La Fanciulla del West, it will provide a wealth of information not previously available, particularly all in one place. Any one interested in the creative process will find it exposed and examined clearly. The scholar will recognize the fascinating chance discovery, the thrill of the chase and the deep rewards of work undertaken lovingly and with rigorous care by the dedicated and passionate co-authors. »

13 Apr 2005

HANDEL: Athalia

I have long been accustomed to the grumblings of my German and Italian colleagues concerning the pronunciation and expression of musical works in their native languages by English-native singers and choirs. I had chalked it up to benevolent xenophobia, but this beautiful recording gives me new insight into their perspective. »

11 Apr 2005

Faust at Linz

Kam da doch glatt ein Franzose (ausgerechnet!) und stellte 1859 nonchalant das deutsche Literatur-Nationalheiligtum vom Kopf auf die Füße! Sprich: Ignorierte Goethes Motto “Wer vieles bringt, wird manchem etwas bringen” und nahm des Dichterfürsten Ideendrama als Text-Steinbruch einer amour fou. Bei den deutschen Kritikern fiel das Stück durch, das Publikum hingegen war begeistert, bekam es doch genau das zu sehen, wonach es in einer Oper dürstet. »

11 Apr 2005

Pearl Fishers at NYCO

The new “Pearl Fishers” that arrived at New York City Opera on Sunday afternoon came from the San Diego Opera, but it looks as if it came from the opening ceremony of the Olympic Games. Maybe it was the fluorescent hues; or the attempt to create local color with tinselly choreography; or the stylized patterns painted on the stage, like sun on sand, and the women’s bikinis, which evoked the flavor of a recent addition to the Games, beach volleyball. »

11 Apr 2005

Olga Borodina in New York

My last encounter with Olga Borodina as a songstress was a particularly memorable one, and I daresay it was for her as well. In May 2001 she postponed a Carnegie Hall recital literally at the last minute, a hastily scrawled piece of paper taped over the poster out front our only greeting. Ms. Borodina was suffering from allergies and gamely attempted to forge ahead a week later with James Levine at the piano. The afternoon was challenging, but the half-empty hall was populated by a dedicated group that admired her courage. »