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Elsewhere

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta


OPERA TODAY ARCHIVES »

Reviews

A scene from Nabucco [Photo courtesy of Serbian National Theatre, Novi Sad]
22 Nov 2014

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.  »

Recently in Reviews

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24 Feb 2005

Schubert's Die schöne Müllerin at Wigmore Hall

A decade ago, Ian Bostridge’s recording of Schubert’s Die Schöne Müllerin, with Graham Johnson, played a major part in boosting his nascent career. These days, though, the tenor is more often found collaborating with pianists who are soloists in their own right. His second recording of the song cycle has seen him developing a partnership with Mitsuko Uchida – and it might be his most fruitful so far. »

24 Feb 2005

Tan Dun's Water Passion at Perth

IN pursuing its theme of transcendence, the Perth Festival has brokered some imaginative collaborations, such as the Tura New Music concert at the Art Gallery of WA, featuring Morton Feldman’s music inspired by the paintings at the Rothko Chapel in Houston, Texas. . . . »

24 Feb 2005

A Bad Day at the Staatsoper

The apes have landed. The Duke of Mantua is a gorilla. Monterone is an orang utan, surrounded by hairy baboons. The cult film director Doris Dörrie is monkeying with Verdi’s Rigoletto at the Bavarian State Opera. »

24 Feb 2005

A Full House at Royal Albert Hall

It is strange how easily Raymond Gubbay manages to fill the Royal Albert Hall for opera, when less than a year ago his Savoy Opera company collapsed because he could not sell enough seats in a theatre a fraction of the size. How irrelevant that ill-starred venture and its demise seem now. »

23 Feb 2005

Samson et Dalila at the Met

Though a sizable contingent of opera connoisseurs and critics have long considered Saint-Saëns’ “Samson et Dalila” a musically tepid melodrama, this 1877 opera has been an enduring favorite with audiences. It’s not hard to understand why. »

23 Feb 2005

Verdi's Requiem Tours France

A qui s’adresse le compositeur d’un Requiem ? Au défunt, que sa musique doit accompagner dans une ultime transcendance, ou à la communauté endeuillée, qui se voit ainsi rappeler son état de mortel ? Dans le cas de Verdi, agnostique déclaré mais chantre du sacré à l’opéra, la réponse ne fait aucun doute. La Messa da Requiem, créée en 1874 à la mémoire du compositeur Rossini et de l’écrivain Manzoni, est destinée à tout être humain sensible au pouvoir des sons. »

23 Feb 2005

The Controversy Continues in Munich

Eine groß angelegte, staatstheaternde Rettungsaktion sollte es sein. Und dass Doris Dörrie jene Verweigerer, die Oper doof statt dufte finden, an die Hand nehmen will, um sie heim in die Hochkultur zu holen, ist ja prinzipiell in Ordnung. Dabei pflegt die Filmregisseurin nur zu gern mit ihrem Nichtwissen in Sachen Musiktheater zu kokettieren, um augenzwinkernd nach Kumpanen zu suchen: Oper, die mischen wir mal so richtig zeitgeistig auf. »

23 Feb 2005

Aida in Philadelphia

Like picking a growth stock, the Opera Company of Philadelphia showed shrewd judgment by engaging sopranos (for two of its four 2004/05 productions) who promptly became media darlings. »

22 Feb 2005

CAVALLI: Arias and Duets from 5 operas

Some years ago, those of us who are aficionados of pre-1750 repertory – and all the more so, those of us who are privileged to be able to teach it – were happy to have any recording of the music we hold so dear. We were happy to excuse wooden-ness or sloppiness of performance because, well, some idea of the sound of pre-Classical repertories was better than none at all. Over the last couple of decades, with the proliferation of phenomenal performers and ensembles who specialize in early music, this resignation faded: we now are spoiled by having our choice of many polished performances, and the privilege of comparing their relative merits. »

22 Feb 2005

Poppea in Zurich

The early music movement has come a long way since the 1970s. Or has it? Zurich Opera’s new L’incoronazione di Poppea invites comparisons. This opera house’s Monteverdi cycle three decades ago changed the way the world thought about the composer. Now it’s time for the remake. Same conductor, different directors. Klaus-Michael Grüber staged a spare, emotional Il ritorno d’Ulisse in patria three years ago. For Poppea, it’s Jürgen Flimm’s turn. »

22 Feb 2005

Rigoletto in Munich

München – Idee ungewöhnlich, Experiment gescheitert: Unter dieser Kurzformel könnte man Doris Dörries erste und von großem Medieninteresse begleitete Münchner Opern-Inszenierung zusammenfassen. Giuseppe Verdis 1851 in Venedig uraufgeführten Opernklassiker «Rigoletto» auf dem «Planeten der Affen» anzusiedeln, diese Vorstellung fand bei der Premiere im Münchner Nationaltheater wenig Freunde. »

22 Feb 2005

Prokofiev's Love for Three Oranges in Linz

Es ist eine der kürzesten Sterbesze nen der Operngeschichte: Ein schnoddrig verkündetes Todesur teil, jemand wuselt mit einem Strick herum, dann ist die intrigante Königs-Nichte auch schon tot. In Prokofieffs Märchen-Oper “Die Liebe zu den drei Orangen” wird schnell gestorben: Auch die den ersten beiden Zitrus-Früchten entsprungenen Prinzessinnen verdursten rasch, wenn auch klagend – eines der Details, mit denen sich der Komponist/Librettist Prokofieff vom Verismo abgrenzt. Keine naturalistische Darstellung, keine opulent auskomponierten Szenen voller Gefühlsüberschwang; statt dessen: Märchen und absurdes Theater, kurze Sequenzen, die einander fast überholen. »

22 Feb 2005

Massenet's Werther at the Wiener Staatsoper

Zuweilen begnügt man sich auch mit Details. Wenn das Ganze so gar nicht stimmen mag, gelingt es viel leicht dem einen oder anderen der beteiligten Künstler sozusagen gegen den Strom schwimmend, eine herausragende Leistung zu modellieren. Im Falle der “Werther”-Premiere darf Elina Garanca das künstlerische Freischärlertum für sich in Anspruch nehmen. Sie sollte die Charlotte singen, wurde von Regisseur Andrei Serban jedoch gezwungen, eine Art Grace-Kelly-Parodie abzuliefern, denn das Stück spielt von Inszenierungs-Gnaden in den fünfziger Jahren des 20. Jahrhunderts. »

22 Feb 2005

Anne Sofie von Otter at Göteborg

Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire — what if I didn’t like them in concert? The concert hall was full — 1200 seats, imagine that for a recital… I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience. »

21 Feb 2005

Elisabeth Schwarzkopf Sings Operettas by Lehár, Suppé, and Strauss

This new disc, from Hänssler’s “Living Voices” series, divides essentially into two parts. The first four tracks are “Potpourris” from Léhar’s Paganini and Das Land des Lächelns, Suppé’s Bocaccio, and Johann Strauss’s Wiener Blut. Recorded in 1939 and 1940, these “Potpourris” feature tenor Rupert Glawitsch and a very young Elisabeth Schwarzkopf (b. 1915). The remaining eight tracks include excerpts from Schwarzkopf’s early-50s EMI complete mono recordings of Die Lustige Witwe and Land das Lächelns. »

21 Feb 2005

CANTELOUBE: Chants d’Auvergne

In the mountains of the vast Auvergne country near the south of France lays the inspiration of Canteloube’s Chants D’Auvergne. Marie-Joseph Canteloube, born in 1879 at Annonay, spent his childhood in the countryside of Malaret in the south of Auvergne. It was these roots that instilled his love for folk-music, consuming much of his compositional output and research. He wrote Les chants paysan s’élève bien souvent au niveau de l’art le plus pur, par le sentiment et l’expression, sinon par la forme. (The songs of peasants very often reach the level of the purest art in feeling and expression, if not in form.) »

21 Feb 2005

Michael Bohnen: At the Metropolitan Opera, New York

The title of this most worthwhile CD is, I’m afraid, somewhat misleading. The charismatic German bass-baritone, Michael Bohnen, sang at the Metropolitan Opera from 1923-1932. One might expect this CD to only document roles that Bohnen sang there, if not provide transcriptions of actual Met performances. In fact, the disc includes excerpts from several roles that Bohnen never sang at the Met. Of the twenty tracks on this CD, twelve, by my count, are souvenirs of Bohnen Met roles (Tonio, Rocco, Caspar, Mephistopheles, Wotan, Wolfram, Sachs, and Francesco in Schilling’s Mona Lisa). »

21 Feb 2005

Wozzeck at WNO

FIRST nights of Alban Berg’s Wozzeck are not traditionally sellouts, but then this was anything but a traditional first night. As the main event of Welsh National Opera’s inaugural weekend in its new home, the Wales Millennium Centre at Cardiff Bay, Saturday night’s performance sent out a volley of positive signals that will stand the company in good stead as it builds new audiences. There are more seats to fill than in WNO’s old house, but a strong forthcoming season combined with adventurous pricing policy should prolong the buzz. »

21 Feb 2005

Adams' The Death of Klinghoffer in Philadelphia

Time stands quite still in John Adams’ opera The Death of Klinghoffer. The pulsing orchestra, the explanatory choruses, the shifting viewpoints, and, above all, the tacit understanding that the events of 20 years ago are being replicated now with no measurable change give the work the feeling of complete stasis. »

21 Feb 2005

WNO Triumphs With La Traviata

Welsh National Opera’s first performance in its new home could so easily have been a disaster. But nowhere was the return of its former musical director Carlo Rizzi more crucial than in this revival, as he transformed the shoddy Traviata of last May into an emphatic restatement of the musical values that have traditionally been at the core of the WNO. Rizzi conducted with authority and passion, and with such care for his singers that where terminal decline had beckoned, he seemed to have effected a miracle cure. »

21 Feb 2005

Handel's Semele at Scottish Opera

A tale of everyday mortals and gods entranced a nearly full house at beleaguered Scottish Opera last night with the same clever mix of pathos, wit, drama and humour that has kept nations’ favourite soaps at the top of the viewing and listening schedules for decades. And it was the visual elements as much as the vocal and musical that clinched the success of this premiere performance last night. Director John la Bouchardiere (of “The Full Monteverdi” fame) worked with a light touch that engagingly mixed some pretty unusual elements into a confection that finally had the audience calling its approval. Likewise, young Christian Curnyn on the podium brought his Early Opera Company experience and love of truly modern stagings of Handel to bear, and managed to persuade the SCO orchestra to eschew both vibrato and swooping lines without adding any extra period instrumentalists, save a harpsichord. Apart from a slightly unconvincing first 10 minutes (of more later) they played with increasing verve and apparent conviction throughout. »

21 Feb 2005

Daniel Catán's Florencia en el Amazonas

If you had to name an opera you thought Seattle music lovers were dying to see and hear, what would be your guess? “Carmen”? “Madame Butterfly”? Maybe the ever-beloved story of ill-fated young lovers, “La Boheme”? »

21 Feb 2005

SALGADO: The Teatro Solis 150 years of Opera, Concert and Ballet in Montevideo

During the latter half of the 19th century, and much of the 20th, countless opera companies, mostly Italian, but also some French and an occasional German, toured much of the Southeast coast of Latin America. Cities visited most frequently included Buenos Aires, Montevideo, Rio de Janeiro, and Sao Paulo, with occasional swings inland (Rosario and Cordoba), but sometimes going as far West as Santiago and Valparaiso. »

19 Feb 2005

Verdi's Otello at Opéra-Bastille

Ce ne sont pas des notes qui jaillissent de la baguette de Valery Gergiev, c’est un foudroiement : une tempête d’air, d’eau, de feu qui déchire l’espace et fige d’horreur le chœur des Chypriotes massés au port pour le retour vainqueur d’Otello. Une puissance dévastatrice, métaphysique. »