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Elsewhere

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

2016 Elizabeth Connell Prize Winner Announced

Kseniia Muslanova from the Russian Federation has won the 3rd annual Elizabeth Connell Prize for aspiring dramatic sopranos held at the Sydney Conservatorium of Music in Sydney Australia on 3 September 2016.

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.


OPERA TODAY ARCHIVES »

Reviews

ROH, Mozart’s Così fan tutte
25 Sep 2016

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity. »

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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. »

09 May 2005

Handel's Aci, Galatea e Polifemo in London

The Grand Tour, whereby wealthy Britons travelled through Europe, in particular Italy, imbibing culture at its fountainhead, is the theme of this year’s Lufthansa Baroque Festival. The opening concert focused on Handel, whose reasons for going to Italy were professional, and whose route was unusual. German-born and trained, Handel spent four years in Italy in his early 20s, learning everything he needed to know about the Italian style, and particularly how to write Italian opera. Moving to London, he became its leading purveyor to English audiences for 30 years. »

09 May 2005

Der Ring Along the Amazon

MANAUS, Brazil, May 8 – Richard Wagner set his fantastical world of Valkyries, gnomes and giants along the Rhine, not the Amazon. But this is a city with a long history of thinking large and even outlandishly, which is how the Amazonas Opera Festival here has ended up staging Wagner’s sprawling four-part “Ring of the Nibelungen” cycle in the heart of the world’s biggest rain forest. »

09 May 2005

Margaret Garner Premiere

DETROIT, May 8 – Grand opera is happiest when the issues are big and little neutral ground stands between good and evil. What better topic than American slavery and its aftermath? The Michigan Opera Theater’s premiere performance of “Margaret Garner” on Saturday night had heated the passions, stirred guilt and broken a lot of hearts before a word or a note was written. »

09 May 2005

WEILL: Die sieben Todsünden

A new recording of Kurt Weill’s (1900 – 1950) ballet chanté, Die 7 Todsünden (1933) featuring Anja Silja and the SWR Rundfunkorchestra Kaiserslautern and conducted by Grzegorz Nowak, has recently been made available in the U.S. on the Hässler-Classic label. Also included on the CD is Weill’s Quodlibet, opus 9 (1923) — an orchestral arrangement taken from his 1922 children’s pantomime, Zaubernacht. »

09 May 2005

ZANDONAI: Francesca da Rimini

Strange to think that Magda Olivero has to thank Renata Tebaldi and Maria Callas for two of her best known live recordings. Tebaldi cancelled the famous Adriana Lecouvreur performances in Naples 1958 (Corelli, Bastianini, Simionato) and La Scala originally wanted Callas as Francesca da Rimini. Twice Olivero substituted and made the role so much her own that whenever one of these operas pops up in a conversation so does Olivero’s name. Contrary to Adriana, Francesca was not a staple in the soprano’s repertoire. She sang a few performances with Alessandro Ziliano and Tullio Serafin in Torino in 1940 and only returned to the role 19 years later for her second and last run of Francescas. »

09 May 2005

Lamentations and Messiah

The Brilliant Classics label has been releasing budget priced recordings on CD for some time now, many to high praise. Complete symphony cycles (for example, of Shostakovich and Bruckner) have been favorably compared in some publications to those from major labels featuring star conductors and top orchestras. »

09 May 2005

ESCUDERO: Illeta

The Basque region of Spain is known as a unique cultural enclave. Within its confines thrives a rich artistic heritage. Composer Francisco Escudero has become one of the most famous 20th century composers from the region. His avant-garde sound blends many eclectic styles with elements of traditional Basque music. »

07 May 2005

Cavalli's La Calisto in Munich

Das Amt des Hausregisseurs gibt es an der Bayerischen Staatsoper offiziell nicht. Wenn aber einem diese Funktion gebührt, dann ist es David Alden. Über ein Dutzend Inszenierungen hat der New Yorker hier bereits herausgebracht. Seine aktuelle Regie: Francesco Cavallis Barock-Oper “La Calisto”, die am Montag im Nationaltheater ihre Münchner Erstaufführung erlebt. Ivor Bolton dirigiert. Das Stück erzählt von der Nymphe Calisto, in die sich Jupiter verliebt. In Gestalt der Göttin Diana bandelt er mit ihr an – was die Gattin natürlich übel nimmt. »

07 May 2005

Missa Solemnis in London

‘The day on which a High Mass composed by me will be performed during the ceremonies solemnised for your imperial highness will be the most glorious day of my life,” wrote Beethoven in 1819 to Archduke Rudolph, the youngest brother of the Holy Roman Emperor Franz I and his composition student. Rudolph had just been elected archbishop of Olmütz in Moravia, and Beethoven was to write a setting of the mass for the installation the following year. In the event, however, the Missa Solemnis would take Beethoven five years to write and would be one of the grandest and most complex works of his later years. It is also one of the hardest of all musical works to perform. When Harmonia Mundi produced a live recording of the piece, conducted by Philippe Herreweghe, there were many who felt that this was the first time they had heard a performance that had the full measure of the work. This weekend he brings the same forces, the Collegium Vocale Gent and the Orchestre des Champs-Elysées to perform it in London. »

06 May 2005

La Wally in Düsseldorf

Düsseldorf. Die “Geierwally” als Oper lässt ein Alpendrama mit deftigem Lokalkolorit vermuten. Die Düsseldorfer Erstinszenierung von Alfredo Catalanis “La Wally” bot stattdessen die Seelenstudie einer sexuell frustrierten Gesellschaftsdame, die mit ihrem Wohlstand nichts anzufangen weiß, weil sich ihr der Mann verweigert, den sie liebt. Das Premierenpublikum folgte dieser Umdeutung bereitwillig, jubelte ihr nicht ohne die Lust der Wiedererkennung begeistert zu. »

06 May 2005

Magic Flute in Brussels

Durant les riches années passées à la tête de la Monnaie de Bruxelles, Bernard Foccroulle aura élargi la palette de la mise en scène d’opéra, en faisant appel à des chorégraphes ou à des plasticiens. Ainsi, l’homme de théâtre et dessinateur, le Sud-Africain William Kentridge, grand inventeur d’images fixes et animées. Si l’alchimie se fait entre l’univers visuel du créateur et l’oeuvre qu’il met en scène, cela peut renouveler la question. Dans le cas contraire, on a l’impression de voir, pour paraphraser Godard, non pas «des images justes», mais «juste des images». C’est ce qui se passe avec La Flûte enchantée vue par Kentridge. »

06 May 2005

Soile Isokoski at New York's Zankel Hall

With a voice at once silvery and dark, compact yet ripe with overtones, soprano Soile Isokoski is in increasing demand as a Wagner and Strauss interpreter. New York so far has heard her primarily in Mozart and French opera, most recently as an achingly poignant Rachel in Halévy’s “La Juive” and as Marguerite in the Metropolitan Opera’s glitzy new staging of Gounod’s “Faust.” »