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Elsewhere

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.

Baroque at the Edge: London Festival of Baroque Music, 12-20 May 2017

On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.

OPERA RARA AUCTION: online auction for opera lovers worldwide

On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.


OPERA TODAY ARCHIVES »

Reviews

22 Jan 2017

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.  »

Recently in Reviews

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15 Sep 2005

WEBBER: Phantasia; The Woman in White

Probably the best thing that can be said about Sir Andrew Lloyd Webber, Richard Stilgoe, and Charles Hart’s The Phantom of the Opera becoming the longest running Broadway musical, which it almost certainly will, is that it will take that honor away from Cats. (I am reminded of David Letterman’s comment, made with mock horror, “What if it really is ‘now and forever’?”) Phantom, as it is known both with and without affection, is perhaps Lloyd Webber’s most “traditional” show: it has far more book scenes than his earlier, concept-album-as-musical shows, although the latter, including Jesus Christ Superstar and Evita, are tremendously and, arguably, more effective; it recalls operetta despite its pop-heavy score; and it is based on a novel that is already known through incarnations on stage and screen. Its unabashed romanticism, despite its occasional descent into bathos, has endeared it to millions, many of who see it again and again and continue to be moved by it. So I suppose it was only a matter of time until an arranger came up with an orchestral version of the score to satisfy pop concert audiences and other aficionados of the score. »

15 Sep 2005

THEILE: Arias; Canzonettas

Johann Theile is best known for his significant body of church music and his reputation as “the father of contrapuntists.” It is easy to summon the image of a learned graybeard, well-practiced in contrapuntal art (especially invertible counterpoint, it would seem). This recent recording from Ludger Rémy, however, shows us a less well-known and very congenial side of Theile: the composer of student love songs. »

15 Sep 2005

MONTSALVATGE: Integral de canto

It is unfortunate that audiences tend to pigeonhole Xavier Montsalvatge (1912-2002) as a one-work composer. There is no doubt, however, that the popularity of his Canciones negras has overshadowed the rest of his output. »

14 Sep 2005

SULLIVAN: Cox and Box; Trial by Jury

This new recording of two somewhat early works with music by Sir Arthur Sullivan provides a taste of Sullivan just before and just after the beginning of his famed collaboration with W. S. Gilbert. Cox and Box was produced in 1866. Trial by Jury debuted in 1875, four years after Thespis, Gilbert and Sullivan’s first work as a team. The difference is apparent if not glaring. It is mostly noticeable in Sullivan’s more nuanced response to Gilbert’s libretto, which is far more sophisticated and clever than Burnand’s nonetheless amusing effort. The transition from the end of the earlier work to the opening chorus of Trial by Jury, which immediately places us in the identifiable musical world of G&S, is remarkable. With Burnand, Sullivan is broader in his parodic musical pastiche; with Gilbert, he lets the words take over most of the satire and composes in a subtler, and even more delightful, vein. »

14 Sep 2005

PROKOFIEV: Ivan the Terrible

Prokofiev was one of a number of twentieth-century composers of art music who also devoted a significant amount of time to composing for the cinema. The eight films for which he composed scores were met with varying degrees of success, from the celebrated fame of Aleksandr Nevsky to the frustrated productions of lesser-known films such as The Queen of Spades and Tonya. Sergei Eisenstein’s colossal trilogy Ivan the Terrible, for which Prokofiev composed his final film score, was met with both extremes: Although part one of the film was released in January of 1945 to great critical acclaim, the second part was attacked during production for political reasons, even to the extreme of attracting criticism from Stalin himself. Part two would not appear in theaters until 1958, long after Prokofiev and Eisenstein were gone, and part three was never produced. »

14 Sep 2005

Ouvertüren: Music for the Hamburg Opera

The composers of these overtures — what today we would call suites — range from the world-famous George Frideric Handel to the moderately well-known Reinhard Keiser to the virtually unknown Johann Christian Schieferdecker. The works represented here also cover a range of dates: 1693 for the Ouverture no. 4 by Philipp Heinrich Erlebach to 1726 for the Suite “Ludovicus Pius” by Georg Caspar Schürmann (1672/3-1751), neither of whom have made a noticeable dent in the performance repertoire of today’s early-music groups. »

13 Sep 2005

DONIZETTI: Pietro il Grande

Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819. »

11 Sep 2005

Das Rheingold

Experienced listeners gain nothing but lose very little when a mediocre, even bad performance of Wagner’s stage works is released on DVD.  »

11 Sep 2005

BITTOVÁ: Elida

First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe – there are graphics, ideas, names, and especially musical styles that have become predictably associated with the New York... »

08 Sep 2005

Opera Australia Presents Death in Venice

Since opera began, composers have honoured, or pretended to honour, the principle that the music should serve the words, though, in reality, it is done more in the breach than the observance. »

07 Sep 2005

Fidelio in Stir

First, you signed the waiver relieving the venue of any liability for your injury or death. Then, you were handed a flashlight and felt the chill in the air – not a typical cold draft but the prickly tingle that comes with unquiet spirits nearby. »

31 Aug 2005

The Cambridge Companion to Elgar

Perhaps some Opera Today readers may wonder why a book on Sir Edward Elgar merits reviewing on this particular site. The composer never came near to completing an opera. In fact, only toward the end of his career did he... »

27 Aug 2005

AUDRAN: La Mascotte

Chances are the world of opera bouffe is somewhat foreign to most listeners. Many may know one or two operettas by Offenbach - La Perichole, perhaps, or La belle Helene and a large number of melodies from various of his works collected for the ballet Gaite parisienne. But this extensive body of works from the last quarter of the nineteenth-century is infrequently performed, and, apart from the occasional aria heard on an inventively programmed recital, the repertory today is heard about more than it is heard. The names Audran or Lecoq are largely unknown, despite their having been very popular in this country at the end of the nineteenth century. (Maurice Grau brought many French productions to New York during the 1870s and 1880s, and the operettas, sung in French, were quite popular. Productions in the original language allowed the retention of the racy dialogue and numerous double entendres - most of which would have been unacceptable in English -- so typical of these works.) »

27 Aug 2005

RABAUD: Marouf, Savetier du Caire

Like many of the nearly forgotten composers of his era, Henri Rabaud (1873-1949) had his day in the sun. A pupil of Massenet at the Paris Conservatoire, and later its director, Rabaud wrote eight operas, the most successful of which was Marouf, Savetier du Caire, which premiered in 1914 at the Opera-Comique in Paris and soon became a world wide hit. But today a mention of Rabaud's name will likely draw a blank stare, even from well versed opera aficionados. »

27 Aug 2005

ALALEONA: Mirra

I had never heard of the Italian composer Domenico Alaleona (1891-1928) when a recording of his opera Mirra arrived in the mail. Baker's gives him a respectable 22 lines, but says "his importance lies in his theoretical writings," not this opera or various collections of songs, instrumental works, and a Requiem. If you've ever come across the term "dodecaphony," well, Alaleona coined it (in Italian, of course). »

26 Aug 2005

MESSIAEN: Orchestral Works

As part of their "Gemini--the EMI Treasures" series, EMI has re-released recordings of some of Olivier Messiaen's greatest hits: the Turangalila-Symphonie (1946 - 48), Quatour pour la fin du temp (1940 - 41), and Le Merle Noir (1951, for flute and piano). This two-disc release features the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle, with Tristan Murail playing ondes martenot and Peter Donohoe on solo piano in the 1986 recording of Turangalila-Symphonie. Quatour pour la fin du temps was recorded in 1968 by Erich Gruenberg (violin), Gervase de Peyer (clarinet), William Pleeth (cello), and Michel Beroff (piano); Le Merle Noir was taken from a 1971 Abbey Road session with flutist Karlheinz Zoller accompanied by Aloys Kontarsky. These performances in their various manifestations on earlier albums have consistently received rave reviews, and with good reason. The performances are exceptional in their interpretation and the recordings have been beautifully remastered. »

26 Aug 2005

Marco Polo Film Classics, Part I

Between the 1930s and the 1950s, Hollywood composers pumped out tens of thousands of scores for what we now call "classical Hollywood films." These films often contained an hour or more of music, but few viewers would have realized this. Certainly, many of these scores included themes that became very well known--Casablanca and Gone with the Wind come immediately to mind; however, much of the music was played quietly and inconspicuously. In classical Hollywood films, music is subservient to the narrative, and generally played two main roles. First, it served the film's central narrative by heightening the emotional content of important scenes (e.g., ominous music when characters approach an abandoned castle) and revealing characters' hidden feelings (e.g., love music while two characters are fighting). Second, music gave the film a greater sense of continuity by smoothing over cuts and moving slower scenes along. »

25 Aug 2005

BONONCINI: La nemica d’Amore fatta amante

Giovanni Bononcini (Modena, 1670 - Vienna, 1747) is best known today for his dozen years in London, which began when he was 50 and Handel was 35. Five years later, a well-known epigram likened them to Tweedle-dum and Tweedle-dee . Londoners then had to decide whether Handel, compared to Bononcini, was "but a Ninny," or whether Bononcini, when matched with Handel, was "scarcely fit to hold a Candle." For many Londoners, the more luminous composer was Bononcini, since he had served munificent patrons for four decades before his arrival in England: duke Francesco II of Modena (1680s); two immensely wealthy noblemen - Filippo Colonna and Luigi de la Cerda, the Spanish ambassador - in Rome (1690s); two emperors - Leopold I and Joseph I - in Vienna (1700s); and an immensely wealthy Viennese ambassador in Rome (1710s). »

25 Aug 2005

The Death of Klinghoffer at Edinburgh

It has taken 14 years for John Adams’ second opera to reach a British stage. Scottish Opera’s production of The Death of Klinghoffer at last goes boldly where no opera company in these islands has dared before (and one of them, Glyndebourne, shared in the original commission). »

25 Aug 2005

Melodrama in Edinburgh

First performed in 1775, Georg Benda’s Ariadne auf Naxos is a melodrama in the most literal sense of the word — a work for actors and orchestra in which music is deployed to heighten the effect of emotional declamation. Even though posterity has tended to play its influence down, many in the late 18th and early 19th centuries rated it as both a masterpiece and a major vehicle for a tragic actress. This performance revealed it to be a work of considerable power. »

25 Aug 2005

The Threepenny Opera in LA

LOS ANGELES (Hollywood Reporter) – German writers Bertolt Brecht and Kurt Weill’s stylized 1928 masterpiece “The Threepenny Opera” is savagely cynical, sardonic, brittle and worldly wise—and wonderfully well-performed at the Odyssey Theater Ensemble, a tribute to savvy director Ron Sossi and a cast of 16 talented and eager performers. »