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Elsewhere

Bampton Classical Opera Young Singers’ Competition 2015

Bampton Classical Opera has announced that applications are now open for the company’s Young Singers’ Competition 2015. This biennial competition was first launched in 2013 to celebrate Bampton Classical Opera’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

A Chat with Anita Rachvelishvili

Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.


OPERA TODAY ARCHIVES »

Reviews

Marie-Nicole Lemieux [Photo by Manuel Cohen]
02 Mar 2015

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.  »

Recently in Reviews

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24 Mar 2005

Leontyne Price & Samuel Barber: Historic Performances (1938 - 1953)

Among the leading figures in music in twentieth-century America, the composer Samuel Barber and the soprano Leontyne Price are notable for various reasons, not the least of which is the fact that they worked together at various times. »

24 Mar 2005

Parsifal Gets Poor Reception in Berlin

A controversial new production of Wagner’s “punk” Parsifal, by Bernd Eichinger, film-maker and writer of Downfall, provoked outrage when it was premiered in Berlin last Saturday. Here he defends his production. A lot of critics complained that it was staged too close to the orchestra. But that is not a failure – that is exactly what I wanted to do. In a Wagner opera, you have to understand that there are more than 100 musicians; it is a big orchestra, big music. In order that the singers can really be appreciated you have to bring the action forward, closer to the audience. If you put them too far away in the distance of the stage you hear less. »

24 Mar 2005

Der Rosenkavalier at the Met

The Marschallin in Der Rosenkavalier is supposed to be no older than 32 – sensitive, sensual and emphatically sensible. Richard Strauss told us so. She is seldom played that way. Over the decades, the role has become the specialty of well-upholstered divas of a certain age who stress regal pathos at the expense of erotic allure. It wasn’t like that, however, on Friday at the Met, where Angela Denoke basked in revisionist revelation. »

23 Mar 2005

Orlando Furioso at New York City Opera

Handel’s opera “Orlando” is a seductive broadside against love, and New York City Opera’s new production makes this distaste for romance seem irresistible for a while. When the titular knight goes soft, the magician Zoroastro intervenes to warn him away from the vagaries of passion. Better, he counsels, to stick to such sensible, manly stuff as vengeance, mayhem and murder: Make war, not love. »

23 Mar 2005

Madama Butterfly at Covent Garden

IT’S STRANGE that such a basically fine performance can leave so many question marks, but that is perhaps the peculiarity of Madama Butterfly. Puccini’s shabby little shogun shocker contains some of the composer’s greatest music, yet it is put to such shallow, manipulative ends that anyone who likes their opera to be more than a high-class musical is likely to come away feeling unsatisfied. At least the Royal Opera’s latest revival is musically rewarding, and boasts one of today’s leading interpreters of the title role, but the picture-book production shows little willingness to tackle the problem. »

23 Mar 2005

Tosca at the Met

To this day, many sophisticated music lovers dismiss Puccini as a panderer or even a hack. But his supreme craftsmanship is the best refutation of this position. So dedicated was he to creating just the right effect for “Tosca” that he came before dawn one morning to the Castel Sant’Angelo in Rome and faithfully recorded the actual pitches of all of the church bells that can be heard there throughout the early hours, including those of the Basilica of Saint Peter’s. »

22 Mar 2005

A Symphony for Hans Christian Andersen

The words of Symphonic Fairytales are not by a musician, but by one of the 19th century’s most extraordinary writers: Hans Christian Andersen. The Danish fairy-tale author’s bicentenary falls on 2 April this year and a worldwide project is under way to celebrate him in music. Ten Danish composers have been commissioned to write pieces based on his stories; as part of this, the City of Birmingham Symphony Orchestra (CBSO), Chorus and Youth Chorus has achieved quite a coup with a new work from Per Norgard, Denmark’s musical éminence grise, which they will premiere on Andersen’s birthday at Symphony Hall. »

22 Mar 2005

Handel's Ezio at the London Handel Festival

THE curtain rises on Black-adder-land — epicene monarch, black-clad baddie, hooped ladies and preening hero — and you think, hmm, three hours of trying to turn opera seria into comedy could be a bit wearing. Worst fears aren’t entirely realised, but if you don’t trust Handel to hold an audience with a serious exploration of relationship and motivation, why bother? The London Handel Festival has brought us some notable rarities from among the man’s operas, and this one too has seldom been seen; but if the performance falls short, it’s not because the piece is rubbish. »

22 Mar 2005

Peter Grimes in Salzburg

Salzburg zur Osterzeit steht heuer ganz im Zeichen Benjamin Brittens. Nun ist “Peter Grimes”, die Festspiel oper Anno 2005, auch schon 60 Jahre alt, aber von einer Verankerung im internationalen Repertoire kann, wenn überhaupt, erst in allerjüngster Zeit die Rede sein. Jetzt, da das Stück von der Tragödie des Individuums in der Zeit der Vermassung aktueller denn je scheint, setzen es die meisten großen Häuser auf den Spielplan. Zeit also, bei einem Festival ein mustergültige Produktion zu präsentieren, scheint das Kalkül Simon Rattles gewesen zu sein, der damit den Festspielgedanken so unzeitgemäß wie richtig interpretiert. Zumindest in der Theorie. Man muss vielleicht ein bisschen weiter ausholen, um zu definieren, warum eine Inszenierung, wie sie Trevor Nunn im großen Festspielhaus vorgestellt hat, in diesem Fall ein wenig zu kurz greift. »

22 Mar 2005

Orpheus Chamber Orchestra Performs Pergolesi and Rossi

As a seasonal concert, with a mildly ecumenical touch, the Orpheus Chamber Orchestra played a concert of sacred music in the Medieval Sculpture Hall at the Metropolitan Museum of Art on Sunday evening (with a repeat tonight). The principal offering was Pergolesi’s dramatic, deeply emotional setting of the Stabat Mater. It was preceded by string arrangements of six pieces by Salamone Rossi, a Jewish composer who worked in Mantua, Italy, around the same time as Monteverdi, and wrote Hebrew Psalm and prayer settings in a lively madrigal style. »

22 Mar 2005

Rossini's Il turco in Italia in Hamburg

“Es werde Lichter”, sprach der Libretto-Dichter und ließ die Buffa-Puppen tanzen. Keine Charakter, sondern Typen, irgendwie geboren im ganz normalen Uraufführungswahnsinn italienischer Opernhäuser im frühen 19. Jahrhundert; fest am Faden hängend und ganz nach Bedarf herumgeschoben von ihren Schöpfern. Dieser Poeta in Gioachino Rossinis “Türke in Italien”, der sich und seine Erfindungsnöte vorlaut zum Thema einer komischen Oper macht, ist ein ziemlich einmaliger Fall. Und deshalb immer öfter ein gefundenen Fressen als Alter Ergo für seine Regisseure. »

22 Mar 2005

Götterdämmerung at Chicago Lyric

Lyric Opera has been a tease this season. It’s now offering a preview of the delights that will be available March 28, when the company revisits one of opera’s most daunting challenges, Wagner’s cycle of four interrelated works, “The Ring of the Nibelung,” in three cycles through mid-April. »

22 Mar 2005

BACH: Weinen, Klagen — Cantatas BWV 12, 38 & 75

One of the greatest challenges in compiling a recording of J. S. Bach’s cantatas must be choosing which cantatas to group together. For his Harmonia Mundi release, Weinen, Klagen…, Philippe Herreweghe selects three cantatas that represent the human experience of “desolation and comfort.” These two themes are so central to Lutheran theology they could in fact be found in any number of Bach’s cantatas. Nevertheless, the three cantatas on this recording reflect the variety across Bach’s output. “Weinen, Klagen, Sorgen, Zagen” BWV 12, comes from Bach’s period in Weimar, the double cantata, “Die Elend sollen essen” BWV 75, was the first work Bach presented at his new post in Leipzig, and “Aus tiefer Not schrei ich zu dir” BWV 38 is based strictly on the chorale tune throughout the entire work. Despite their differences, all of these works make the theological transition from earthly desolation to eternal comfort. »

21 Mar 2005

Les Ours du Scorff at Mino and Other Children Festivals

Sous le nom des Ours du Scorff, un quintette breton spécialisé dans les airs folkloriques destinés aux enfants de 4 ans et plus. En douze ans d’existence, cette formation est devenue une référence de la chanson jeune public, régulièrement invitée par les festivals spécialisés (Mino et, samedi 19 mars, celui de Magny-les-Hameaux, dans les Yvelines). L’explication de cette réussite tient en un mot : tradition. Non comme forme de réaction, mais comme désir de transmission. »

21 Mar 2005

Bach Restored in Japan

TOKYO (AFP) – Une cantate profane longtemps perdue de Jean-Sébastien Bach a été ressuscitée ce week-end à Tokyo, en première mondiale, sous l’inspiration et la direction du chef américain Joshua Rifkin. »

21 Mar 2005

Dmitri Hvorostovsky in Recital

Dmitri Hvorostovsky is one of the finest singers we have, whether in opera, in song, or in oratorio. (Instead of oratorio, I should say Russian liturgical music – that is one of his real strengths.) We even hear Mr. Hvorostovsky in Italian popular songs. They’re not especially Italian, but they’re enjoyable. »

21 Mar 2005

Kafka's Trial Premieres in Copenhagen

The Danish composer Poul Ruders is one of contemporary music’s free agents—a lover of sweet melodies with a yen for dark chords, a comedian with a flair for apocalypse. His previous opera, “The Handmaid’s Tale,” made sonic thunder out of Margaret Atwood’s novel of a dystopian America ruled by Christian fundamentalists. His major orchestral pieces—“Thus Saw Saint John,” the “Solar Trilogy,” a First Symphony subtitled “Rejoicing from the Heavens, Grieving Unto Death”—unfold hypnotically wayward narratives that reel from antic joy to frozen despair. (There are excellent recordings on the Bridge and Da Capo labels.) Ruders has a special knack for reinventing familiar tonal harmonies and styles; he uses them sometimes to mourn lost worlds, sometimes to suggest otherworldly innocence, sometimes to convey the banality of evil. All these devices are hurled at the audience in his latest work, “Kafka’s Trial,” which had its première on March 12th at the Royal Danish Theatre. »

21 Mar 2005

Maria Cebotari sings Mozart, Verdi, Puccini, Strauß and Gounod

So often we get wrapped up in today’s world of great performers that we forget the performers of the past who, directly or indirectly, influenced these performers and shaped the characters they play. Not one singer today can boast working side by side with Richard Strauss or living in Puccini’s heyday, but Maria Cebotari (1910-1949) could. Thanks to a brilliant re-mastered recording by Hänssler Classic, we are now able to take part in signature performances of a woman who is known as the “predecessor” to Maria Callas. »

21 Mar 2005

The Irreplaceable Beverly Sills

OF all the times Beverly Sills was host of the “Tonight” show, her favorite was in 1977, when her guests were three of her closest confidantes: the comedian Carol Burnett, the perky singer and television host Dinah Shore and the pop chanteuse Eydie Gorme. The women got into a spat over who was whose best friend, then kidded the wholesome Ms. Shore about her current beau, the heartthrob actor Burt Reynolds. »

20 Mar 2005

Dvorák's Requiem in Munich

Schön ist, dass sich das Werk Einordnungen entzieht. Monumentalen Aufgipfelungen wie im “Tuba mirum” steht ein opernhafter Gestus gegenüber, volkstümliche Ausgelassenheit (“Quam olim Abrahae”) kontrastiert zu einem charakteristischen, herbstlich verhangenen Tonfall. Und verklammert wird alles durch ein immer wiederkehrendes, kurzes Motiv. Eine Umspielung des Tones “F”, Seufzer und sehnsuchtsvolle Gebärde zugleich. »

20 Mar 2005

Giordano's Andrea Chenier in Glasgow

IN this splendid concert version of Giordano’s most widely performed opera, Sir Richard Armstrong, the orchestra and chorus of Scottish Opera and an outstanding team of soloists provided some of the best moments of operatic verismo I have heard in an age. »