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Elsewhere

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

World Premiere of Jennifer Higdon’s opera Cold Mountain at Santa Fe Opera this August

East Coast Premiere at Opera Philadelphia next season. Performances from Cold Mountain at the Guggenheim in New York this Monday, March 30.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Winners of the Metropolitan Opera National Council Auditions Announced

Five Young Singers Named Winners of the 2015 Met National Council Auditions, America’s Most Prestigious Vocal Competition

A Chat with Julia Noulin-Mérat

Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.


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Reviews

Scene from The Tempest Songbook [Photo by Julieta Cervantes]
29 Mar 2015

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.  »

Recently in Reviews

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03 May 2005

VERDI: La Forza del Destino

“The policies of recording companies never fail to wonder me.” I am often reminded of the late Harold Rosenthal’s expression in the magazine, Opera, and I definitely had it in mind when I received this recording. Why would anyone bring out a set with two singers (Bergonzi and Cappuccilli) duplicating their roles of the classic EMI-recording of 1969; maybe still the best buy around? And yet, yet I’m not so sure anymore of the superfluousness of this set. There are two reasons for it. Number one is Carlo Bergonzi. I didn’t think he would be able to surpass his formidable EMI-Alvaro and nevertheless he does. Bergonzi’s voice was slowly changing in the early seventies. He had been singing the most strenuous roles of the repertoire for almost a quarter of a century and still the voice had not suffered. On the contrary, there were no traces of his baritone past anymore. The top was secure, though there never was much squillo and a high C usually became a high B. It was the middle voice that had changed most. It became honeyed, silvery in an almost Gigli-like way. Combined with his inexhaustible breath control, his legato and the way he could colour some small phrases and switch from forte to a heavenly pianissimo it slowly dawned upon many listeners that here was one of the greatest tenors of the century who maybe had been taken too much for granted. »

03 May 2005

VERDI: Ernani

“Few tenors today have his ringing top” and “his ringing, clear top” are not exactly qualities one associates with baritenor Placido Domingo, as he has been calling himself for the last ten years. Still, those were the exact words used by critic Peter Hoffer in his reports for Opera Magazine and Opera News on the opening of La Scala for the season 1969-1970. In all honesty, a ringing top à la Corelli is not exactly what one hears on this recording. But there is no hint of a pushed up baritone either. This is 28-year old fresh voiced Domingo with all the beauty and youthful freshness of the middle voice and quite an acceptable top always taking the higher option (A or B-flat) at the end of a solo or a duet. Mr. Domingo has been so long among us that one somewhat has forgotten how meltingly beautiful the young tenor sang, relying on his outstanding vocal gifts. »

03 May 2005

VERDI: Attila

This DVD release, taken from an RAI telecast, documents a 1991 La Scala performance of Verdi’s 1846 opera, based on the life of Attila the Hun. I’ve always felt that early Verdi is one of Riccardo Muti’s greatest strengths. When Muti was Music Director of the Philadelphia Orchestra, I was privileged to see their concert performances of Nabucco and Macbeth. Both featured breathtaking execution, intensity, and momentum. »

02 May 2005

Der Ring at the Wiener Staatsoper

Beinahe ist die Geschichte zu Ende. Einen Durchlauf wird die Adolf-Dresen-Inszenierung von Wagners “Ring”— Tetralogie in der kommenden Spielzeit noch erleben, dann ist — nach der 25. Aufführung der “Götterdämmerung” — Schluss. Am 2. Dezember 2007 beginnt mit der Premiere der “Walküre” ein neues “Ring”-Projekt, inszeniert von Sven-Eric Bechtolf, dirigiert von Franz Welser-Möst. Dieses wird im Mai 2009 abgeschlossen sein, ziemlich genau ein halbes Jahrhundert nach dem ersten Wiener Nachkriegs — “Ring” Herbert von Karajans. »

02 May 2005

Il Ritorno d'Ulisse at Birmingham

It’s always sensible to arrive early for a show by Birmingham Opera Company, simply to locate the venue. After a marquee for Fidelio three years ago and an abandoned car workshop for Candide in 2003, the company’s Monteverdi project, running since the beginning of last year, comes to a climax in a disused ice rink. »

02 May 2005

Rising Stars in Concert at Chicago

A plenitude of sweet music was in the air Saturday night at the Civic Opera House. It arrived long before Ralph Vaughan Williams’ “Serenade to Music,” its Shakespearean text a paean to “sweet music,’’ that closed the concert by members of the Lyric Opera Center for American Artists. »

02 May 2005

Clemenza di Tito at the Met

Operas like “Don Giovanni” or “Die Zauberflöte” today look like repudiations of the formal, almost motionless style that ruled Europe’s musical theater for most of the 18th century. Yet Mozart was surrounded all his life by opera seria, and he wrote four of them, including the early “Idomeneo” and the late “Clemenza di Tito,” which was heard Friday night at the Metropolitan Opera. »

01 May 2005

La Forza in Frankfurt

Vielleicht ist es das beste, was dem krausen Opernschauerdrama passieren kann: Die Macht des Schicksals konzertant, vom ersten Schuss an, der sich von selbst aus der Pistole löst. Die Oper Frankfurt lässt das Werk in der Fassung von 1869 in der Alten Oper unter Leitung Paolo Carignanis hören und hat damit die Einschätzung Theodor W. Adornos angesichts einer Inszenierung des Stücks 1928 am gleichen Ort noch überboten. Die schicksalswütige Romantik des Forza-Buchs, so der damals 25-jährige Musikkritiker, “sei in sich bereits so welk, dass zu seiner Beurteilung Marionettendramaturgie allein zuständig wäre”. »

01 May 2005

Magic Flute in Ferrara

The power of the very greatest conductors to reinvent whatever they conduct is one of music’s great mysteries. Claudio Abbado’s conducting is not the only reason to catch the production of Mozart’s Die Zauberflöte being toured in Italy and Germany by the Mahler Chamber Orchestra, but it is by a very long way the most important. Abbado’s performance is, quite simply, mesmerising. It is so full of musical insight and operatic experience that every bar seems perfectly placed, every detail of the scoring perfectly illuminated. »

01 May 2005

La Bohème at the Florentine

Bring a hankie, the Florentine just opened “La Bohème.” Puccini’s opera, which combines likable characters, elements of verismo realism, poignantly beautiful music and a tragic tale of young love lost, is one of the world’s best-loved operas. The Florentine Opera opened a strong production of the classic on Friday, in which director Lillian Groag found a balance between the story’s humor and pathos. »

01 May 2005

Figaro at the Beach

Monteverdi’s “Orfeo” set in a chic apartment on Manhattan’s Upper East Side, Mozart’s “Cosi fan tutte’’ played out in a trendy club complete with burly, stone-faced doormen and a sleek VIP room. Chicago Opera Theater has had some smashing successes with stage director Diane Paulus’ contemporary take on centuries-old operas. She is back this spring, teamed once again with conductor Jane ver, her colleague on four previous COT productions, for a fresh look at another Mozart opera, the bittersweet “The Marriage of Figaro.’’ A “Figaro’’ set in Miami’s South Beach, anyone? »

29 Apr 2005

Suor Angelica and Pagliacci at Liège

Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I’d love to hear Angelica’s second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent ( nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly. »

29 Apr 2005

Giovanna d’Arco at Antwerp

The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81 year old Silvio Varviso spoke briefly but forcefully and asked for the spectators’ support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpasses) Pappano’s former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera. »

29 Apr 2005

The Bartered Bride at Julliard

In the dark before the lights came up, the stage looked like a set for “Oklahoma!,” down to the dozing cowpoke. The rising lights revealed the object that had looked like a windmill to be a maypole and the setting to be Czech, yet the “Oklahoma!” resemblance didn’t altogether fade. Bedrich Smetana’s opera “The Bartered Bride” has a whiff of an American musical to its simple sweet story (boy loves girl, boy figures out how to get together with girl) and pretty tunes, and the Juilliard Opera Center’s production, which opened on Wednesday, brought out the similarities. »

29 Apr 2005

Upshaw in Downtown Philadelphia and Carnegie Hall

A few seconds into Dawn Upshaw’s singing, you decide that the most important thing is purity of tone – honest, solid, unadorned tone – and Upshaw has it in spades. »

29 Apr 2005

Bo Skovhus at Wigmore Hall

We don’t hear Bo Skovhus in the UK as much as we should. One of today’s great singers, the handsome Danish baritone is both a star and something of a sex symbol on the European mainland, although his work has been inexplicably undervalued by British opera companies and concert managements. »

28 Apr 2005

Tales of Hoffmann at Baltimore

Looking for an escape—from reality? The Baltimore Opera Company has just the ticket. Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) is not called an “opera fantastique” for nothing. »

28 Apr 2005

HANDEL: Rodelinda

There was a time, not so long ago, when Handel was a rare bird on the video shelves of opera shops and record retailers, but it seems that with the advent of the slim ‘n sexy DVD disc, and (in Europe at least) a more flexible attitude to rights issues between record companies and opera houses, that those days are now, happily, past. The latest offering from Farao Classics is the 3 year old Munich Staatsoper production of his “Rodelinda” with staging by David Alden, music direction by Ivor Bolton, first given at their Festival in 2003. I’m not entirely sure why certain operas get chosen for DVD release and others don’t, and this one is a bit of a puzzle for several reasons. »

28 Apr 2005

LARSEN: love lies bleeding — Songs by Libby Larsen.

This CD, entitled "Love Lies Bleeding," is a companion to the fascinating recording by the same soprano and pianist, entitled "With All My Soul" (The Orchard 6003). »