Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.


OPERA TODAY ARCHIVES »

Reviews

Barbara Hannigan
29 Aug 2016

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.  »

Recently in Reviews

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14  |  15  |  16  |  17  |  18  |  19  |  20  |  21  |  22  |  23  |  24  |  25  |  26  |  27  |  28  |  29  |  30  |  31  |  32  |  33  |  34  |  35  |  36  |  37  |  38  |  39  |  40  |  41  |  42  |  43  |  44  |  45  |  46  |  47  |  48  |  49  |  50  |  51  |  52  |  53  |  54  |  55  |  56  |  57  |  58  |  59  |  60  |  61  |  62  |  63  |  64  |  65  |  66  |  67  |  68  |  69  |  70  |  71  |  72  |  73  |  74  |  75  |  76  |  77  |  78  |  79  |  80  |  81  |  82  |  83  |  84  |  85  |  86  |  87  |  88  |  89  |  90  |  91  |  92  |  93  |  94  |  95  |  96  |  97  |  98 
19 May 2005

Paul McCreesh Directs Bach's B Minor Mass

Paul McCreesh’s approach to Bach’s last major choral work is about as far removed as possible from traditional heavyweight performances of the B minor Mass, and distinctly different from the approach of many of his period-instrument peers as well. For this superbly energised account, the Gabrieli Consort consisted of just 10 singers, divided equally into a ripieno, which provided the soloists, and a consort, which joined in for the large-scale numbers. The orchestra was just over twice that size. This minimalist approach produced gains in equality between voices and orchestras, and marvellous clarity in the contrapuntal writing. It also enabled McCreesh to adopt tempi that would have had a larger choir tied in knots. »

19 May 2005

Der Ring at the Mariinsky

Hot on the heels of their marathon appearance at the Moscow Easter Festival, the artistic forces of St. Petersburg’s Mariinsky Theater are preparing for a return visit to Moscow. Starting Monday, they take to the main stage of the Bolshoi Theater with three evenings of ballet and a complete performance of Richard Wagner’s four-part operatic cycle “The Ring of the Nibelung.” »

19 May 2005

Britten's A Midsummer Night's Dream at COT

At first glance, Shakespeare’s “A Midsummer Night’s Dream’’ is a frothy tale, a story of youthful romance going charmingly awry. True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne’er did run smooth, and Shakespeare’s beleaguered lovers triumph in the end. »

18 May 2005

Sarah Connolly at Weill Hall

On Monday night at Weill Recital Hall—the lovely space upstairs at Carnegie—Sarah Connolly gave us one of the most satisfying events of the season. The English mezzo-soprano sang a diverse recital, offering Haydn, Brahms, Hahn, Korngold, and Weill (Weill at Weill!). This followed her debut at the Metropolitan Opera, as Annio in Mozart’s “Clemenza di Tito.” All in all, Ms. Connolly put in a very good month’s work in New York. »

18 May 2005

Lucio Silla at Wiener Festwochen

Nelle sue ultime dichiarazioni il nuovo sovrintendente della Scala Lissner ha spesso accennato, senza fare nomi, a cinque direttori d’orchestra, da lui ritenuti i migliori del mondo. Non siamo in grado di dire se Harnoncourt faccia parte di questa rosa, ma non esiteremmo ad affermare che nell’ambito dell’opera mozartiana il direttore austriaco abbia introdotto nuovi canoni interpretativi. Tra palco e buca, infatti, l’intesa è simbiosi. Il Concentus Musicus ha dimostrato di essere non solo ottimo complesso strumentale, ma anche eccelso apparato operistico. Harnoncourt dirige l’orchestra ascoltando le voci, senza mai coprirle, anzi assecondandone le virtù e sfocandone le debolezze, in un alternare continuo di livelli dinamici e sfumature timbriche. Tre ore e mezza di musica che non conoscono cali di tensione. »

17 May 2005

Verdi's I Masnadieri in Lüttich/Liège

Für Jean-Pierre Haeck war es eine gelungene Premiere. Für das Publikum war der Abend die Begegnung mit einem Höhepunkt des verdischen Belcanto, einer Oper, die zu unrecht ein wenig in Vergessenheit geraten ist. »

17 May 2005

Jenufa at El Liceu

El Liceu estrena esta noche Jenufa, una gran ópera del compositor checo Leos Janacek, con libreto de Gabriella Preissova, en una producción de la ópera de Hamburgo que se ha visto en el Covent Garden y el Metropolitan. »

17 May 2005

Cyrano at the Met

NEW YORK—There’s a line in Act 2 of Franco Alfano’s rarely heard opera “Cyrano de Bergerac” that marks a critical turning point in the sad story of a poet’s unrequited love: “The Tiger’s awakening.” It’s said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career. »

17 May 2005

BROWNE: Music from the Eton Choirbook

For more than a quarter century, Peter Phillips and the Tallis Scholars have achieved great distinction in the performance of sixteenth-century polyphony, bringing to that repertory interpretations of engaging directness, rhythmic vitality, and fullness of tone. These are qualities that are admirably well suited to the music of the Eton Choirbook and one of its most representative composers, John Browne, the subject of this recent recording. »

16 May 2005

Gheorghiu Sings Puccini at Festival Hall

This strange effort was billed as a Celebratory Gala Concert: Angela Gheorghiu Sings Puccini. Just what we were meant to be celebrating was unclear. But what we got was Gheorghiu singing eight Puccini arias, plus his Salve Regina, together with a couple of encores. »

16 May 2005

Der Rosenkavalier at the Wiener Staatsoper

Philippe Jordan leitete eine musikalische Neueinstudierung des “Rosenkavalier” mit Johan Botha als Überraschungsgast. Ganz auf kammermusikalische Finesse hatte Philippe Jordan diesen Strauss angelegt. Freilich führte er das makellos, mit kostbaren Soli aufspielende Staatsopernorchester meist so straff, dass selbst die Walzerpassagen sich selten zu brillantem Glanz aufschwangen. »

16 May 2005

Jeptha at ENO

Katie Mitchell’s staging of Handel’s last original oratorio was widely admired when presented by Welsh National Opera two years ago. Transported from Cardiff’s New Theatre to the Coliseum for English National Opera’s share of the production, whatever dramatic and musical force it had originally has been dissipated. That may be partly the result of the transfer to a much larger auditorium, but the real problems seem more deeply rooted in the production itself. »

13 May 2005

Premiere of Hildegard

I DON’T say that James Wood’s new opera about everyone’s favourite 12th-century abbess, Hildegard of Bingen, broke the Trade Descriptions Act. But I imagine that many Norfolk and Norwich Festival patrons, lured by the promise of “a spectacle of sound and light”, thought that they were going to get one of those grandiose cathedral son et lumière shows, with the voice of someone like Donald Sinden doing a lugubrious narration while stained-glass windows gently light up. »

13 May 2005

Rigoletto at the Mariinsky

Verdi’s “Rigoletto,” a long-standing audience favorite, received languid treatment from Italian director Walter Le Moli, whose interpretation of the opera premiered at the Mariinsky Theater on May 6 and 7. »

13 May 2005

Prokofiev at the Helikon

For its first new production since May of last year, Helikon Opera chose to honor the 60th anniversary of the end of World War II in Europe with the premiere last Saturday of “Fallen from the Sky,” a operatic pastiche based on two war-related works by Sergei Prokofiev. »

12 May 2005

Angela Gheorghiu at Festival Hall

There are sopranos, and there are divas. Angela Gheorghiu is definitely one of the latter. You know straight away from watching her stride on to the stage why this woman wins her battles with directors and conductors. »

11 May 2005

Britten's War Requiem at Royal Festival Hall, London

Flag-waving celebrations may have been the order of the day across the river, but a far more thoughtful marking of the VE Day anniversary was to be found in the London Philharmonic’s tribute, which almost inevitably took the form of Britten’s War Requiem. What wasn’t inevitable was that it should be led by the orchestra’s chief conductor, who spent VE day as a teenage German soldier in an Allied prisoner-of-war camp. However, it seemed right that Kurt Masur was there. »

11 May 2005

Il Corsaro in Genoa

It would be easy to say that the best thing about Il Corsaro is its brevity. There isn’t one item in the young Verdi’s compositional bag of tricks that he didn’t brandish with greater flair elsewhere. Written when the composer was Paris-based and exploring new artistic directions, it suffers from a sense that he was going through the motions. But the Teatro Carlo Felice accords Il Corsaro the respect it would any other Verdi opera, and the rewards are substantial. »

11 May 2005

BØRRESEN: The Royal Guest

When this CD arrived, I had never heard of Danish composer Hakon Børresen (1876–1954). Baker’s gives him only a few lines, and a Google search didn’t turn up much information until I found a Danish site (www.samfundet.dk) with interesting biographical details to supplement the little biography in the CD notes. When I put the CD on and sat back to listen, I suddenly realized I had heard, if not heard of, Børresen before. It’s Richard Strauss! Or maybe Edward Elgar. The composer seems to have remained firmly rooted in the nineteenth century (or maybe Hans Pfitzner) until his death, three years after that of Arnold Schoenberg. That he retained his leadership of the Danish Composers’ Society during the Nazi occupation until he was ousted in 1948 may say something about his conservative nature as well. »

11 May 2005

BRUBECK: Songs

This problematic recording is another in Naxos’s “American Classics” series, an important body of releases that demonstrates the broad reach of American music across two centuries. While some of the recordings are decidedly novelties, they are welcome as such. William Henry Fry’s “Santa Claus” Symphony, for instance, deserves to be heard as well as mentioned in textbooks. The songs of Dave Brubeck, however, are certainly more than novelties, despite their not being as well known or as widely heard as the music of his justly famous quartet. »

10 May 2005

Ernani at Parma

No city is more closely identified with Verdi than Parma – the urban centre closest to the composer’s rural home – and it polishes its image with an annual Verdi festival. As Parma is also home to the National Institute of Verdi Studies, scholarly gatherings play a role, and several visiting orchestras appear. But the festival’s mainstay rests in the Teatro Regio with two new opera productions. »

10 May 2005

Mara Zampieri: A Tribute to Verdi

The recurring practice in classical recording studios is “re-mastering” recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who released only a handful of commercial recordings and no personal compilations. Myto’s new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently. »

10 May 2005

Rossini's Il Barbiere at Münchner Rundfunkorchester

Das war ein Ensemble! Musikalisch ganz auf Rossinis Spur. Und komödiantisch? Da reichten 50 Quadratzentimeter pro Person, um anzudeuten, was auf einer Opernbühne abgegangen wäre. Denn leider handelte es sich beim jüngsten Münchner “Barbier von Sevilla” nur um eine konzertante Aufführung. Wieder einmal trumpfte das Münchner Rundfunkorchester mit der Oper auf. Diesmal nicht mit einer Rarität, sondern mit einem Top-Ensemble, das eigentlich von Vesselina Kasarova als Rosina angeführt werden sollte. Doch für die Erkrankte sprang kurzfristig Elina Garanca ein und sahnte – zusammen mit ihren Kollegen – beim Sonntagskonzert im Gasteig mächtig ab. »

10 May 2005

Shostakovich's Moscow, Moscow at the Wiener Kammeroper

Sascha und Mascha, jung verheiratet, treffen einander einmal täglich ir gendwo in Moskau und träumen von einer eigenen Wohnung. Semjon Semjonowitsch Baburow und seine Tochter sind obdachlos geworden – das alte Haus in der “Warmen Seitengasse” ist eingestürzt. Der Sprengstoffexperte und “Dissident” Boris möchte nach Jahren fern von Moskau hier seine große Liebe finden. Und da sind dann noch Sergej und seine angebetete, stramm linientreue Bauarbeiterin Ljusja, auch auf der Suche nach einer Bleibe. »

10 May 2005

Tales of Hoffmann at Seattle

Jacques Offenbach’s “The Tales of Hoffmann” has to be one of the most problematic and untidy operas in the international repertory. Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound—since the score was unfinished at the time of the composer’s death—as well as different opinions, almost by definition, about what should and should not be included in any performing edition. »