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Elsewhere

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

Mathis der Maler, Dresden

While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.

The Makropulos Case, Munich

Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

An interview with Tobias Ringborg

I arrive at the Jerwood Space, where rehearsals are underway for Garsington Opera’s forthcoming production of Idomeneo, to find that the afternoon rehearsal has finished a little early.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

Opera Las Vegas Announces Full Production of Carmen

Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office


OPERA TODAY ARCHIVES »

Reviews

(L–R) Peter de Jersey (Tiger Brown) and Rory Kinnear (Macheath)
31 May 2016

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre. »

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07 Apr 2005

Der Ring in Chicago

For opera conductors, the Ring cycle remains the professional Everest. So the fact that Andrew Davis has just completed his first Ring at the Lyric Opera in Chicago marks not merely a career peak for one of this country’s most important conductors, it is also a major event for British music – even if it is taking place thousands of miles from home. »

07 Apr 2005

Un ballo in maschera at the Met

Humor is not a quality normally associated with Verdi. He was a dour fellow, dubbed “the bear of Busetto” by his long-suffering wife. His first comic opera, “Un giorno di regno,” was a crashing failure, and “Falstaff,” his final work for the stage, looks more intently into the abyss than most commentators care to admit. »

06 Apr 2005

HANSEN: The Sibyl Sanderson Story — Requiem for a Diva

Jack Winsor Hansen's 520-page biography of Sibyl Sanderson (1865 - 1903) is packed with romanticism and gossip that will delight and titillate true worshipers of operatic divas and inquisitive opera fans. It also fills a gap in the music-historical writings about opera at the end of the 19th century. »

06 Apr 2005

More On Fanciulla

While ruminating about “Madama Butterfly” in these pages the other week, I mentioned that the de facto premiere of the work was not in Italy at all but rather New York, since the David Belasco play originally opened on Herald Square. In the case of “Girl of the Golden West,” both the Belasco theatrical piece and the Puccini opera were launched in Manhattan, the latter under Toscanini in 1910. »

06 Apr 2005

ENO Closes the Ring

Four years after the initial concert performances, English National Opera’s Ring cycle has reached its Wagnerian summit. It is not a triumph of the kind that the young company enjoyed with its first-ever cycle in the 1970s, but at least the staging is complete, with cast and production team intact, as planned. Other, more prestigious companies have achieved less. »

06 Apr 2005

Il Trovatore in Toronto

Just how good is the Canadian Opera Company’s current Hummingbird production of Il Trovatore? Good enough, that we wouldn’t be all too surprised to find opera buffs donning hard hats and workboots to pitch in down at the corner of Queen and University, just to ensure that this world class company finally has a home that is worthy of it. »

06 Apr 2005

Hasse's Cleofide in Dresden

Es gab was zu feiern am Ostersonnabend in der Semperoper, und das Publikum feierte gern mit: 274 Jahre nach der Uraufführung stand erstmals wieder „Cleofide“ im Rampenlicht. Die wieder entdeckte Oper des früheren Dresdner Hofkapellmeisters Johann Adolf Hasse (1699-1783) hatte einst den Ruf Dresdens als Opernmetropole begründet. Klar, dass sich die Staatskapelle besonders ins Zeug legte, um dem barocken Kleinod wieder Leben einzuhauchen. »

05 Apr 2005

Anna Takes Vienna

Donizettis “Liebestrank” ist sonst eine gern gepflegte Repertoire-Bank. Diesmal war jedoch alles anders. Gleißendes Scheinwerferlicht schon beim Betreten der Oper: Der ORF war angetreten, um das Ereignis für die Nachwelt zu bannen. Solches passiert eher selten im Repertoire-Alltag. Selten passiert es aber auch, dass der Besucher eine derart adrett aufpolierte und klingend besetzte Staatsopernaufführung einfach unterm Jahr serviert bekommt. Sogar Außenministerin und Star-Tenor lauschten in der Loge. Der Grund? Anna Netrebko, der schöne, junge russische Sopranliebling, war als Jungbäuerin Adina angesetzt. »

05 Apr 2005

Fanciulla: The Banality of Reality?

Conventional wisdom has it that Puccini’s operatic tale of the wild West, “La Fanciulla del West,” is too melodramatic to be fully credible – a reason it hasn’t joined his “Tosca,” “La Bohème” and “Turandot” in the top-most echelon of audience favorites. And it’s true that there are lots of things in it that seem silly today (like a bunch of weepy, childlike gold miners singing in Italian) or even offensive, like American Indians whose pidgin vocabulary frequently includes “ugh!” »

05 Apr 2005

MOZART: Idomeneo

In 1934, John Christie launched an institution of English musical life with Fritz Busch and Carl Ebert: The Glyndebourne Festival. Since 1951, the Festival has staged four productions of Mozart’s opera seria Idomeneo (1781), the most recent being in 2003. »

04 Apr 2005

BALAKAUSKAS: Requiem in Memoriam Stasys Lozoraitis

Of the three Baltic States, both Latvia and Estonia are better known for choral music than Lithuania. Yet, Osvaldas Balakauskas, born in 1937, could be one of the finest lesser known modernist composers of the 20th century. Resisting both the neoclassical Soviet aesthetic of Prokofiev and a trendy nationalist folk identity, Balakauskas embraced the avant garde developments of Western Europe. Composing from dodecaphonic tonal modes and complex rhythmic constructs, he can most accurately be compared to Olivier Messiaen. »

04 Apr 2005

Albert Herring/Eugene Onegin/Genoveva in Boston

I ended last week with three very different operas here in Boston. On Thursday, the Boston Conservatory of Music put on a nicely designed, lovingly directed production of Britten’s Albert Herring. Based loosely on a Guy de Maupassant short story Albert sends up English small town blue stockings who stage an annual May Queen pageant, finding themselves unable to find a young woman of acceptable virtue in the immediate area. Their choice falls on a May King in the person of Mamma’s boy Albert Herring who is mortified by the whole experience. Albert proceeds to use the cash part of his prize to go off on a toot, stay out all night to return home a happier, wiser and far more independent young man, to the chagrin of all. »

04 Apr 2005

Feodor Chaliapin sings Russian folk songs

This new release from Hänssler Classics presents an anthology of live and studio performances by the Russian bass Feodor Chaliapin (1873-1938), undoubtedly one of the greatest singers in recorded history. The title of the album, “Feodor Chaliapin sings Russian Folk Songs,” is somewhat misleading. Apart from traditional songs such as “Mashenka,” “Eh, Van’ka,” and “Down the Volga,” the recording includes arrangements of 19th-century popular songs such as “Dubinushka,” “Down the Peterskaya,” and the perennial Gypsy favorite “Black Eyes,” as well as a selection of salon romances, art songs, and ballads by Mikhail Glinka, Alexander Dargomïzhsky, Anton Rubinstein, and Modest Musorgsky, among others. Most of the selections on the new CD have been previously released on various labels, with the possible exception of “Dubinushka,” which I have not been able to find among the recordings currently available. Hence, avid Chaliapin collectors should be aware that the Hänssler release offers little if anything new to them. Those music lovers still unacquainted with Chaliapin’s art, however, or those whose exposure to this singer has been limited to his opera recordings, would find this album a great insight into a spectacular voice and a unique artistic persona. »

03 Apr 2005

Caballe: Beyond Music

Monserratt Caballé’s journey to La Scala and the Metropolitan Opera was truly a road of talent, dedication, and will. One of the most beautiful and athletic voices of our generation, declared as Callas’ successor, Caballé dominated both the dramatic spinto and bel canto arenas, transcending the realm of the opera world to influence the popular masses. »

02 Apr 2005

The Cambridge Companion to John Cage

Cage's music is like Einstein's theorem: most people know it exists, know it's important, but beyond these facts know nothing about it (count me in this category when it comes to Einstein). »

02 Apr 2005

Verdi Gala

As a live occasion, the gala format allows for a festive atmosphere — a variety of singers trot back and forth across the stage, usually performing a series of “opera’s greatest hits” with no distractions, if one may, in the way of costume, set, or dramatic context. Recorded for posterity, such gala events can lose, for many viewers, the attractions of the live atmosphere and become rather labored exercises. »

02 Apr 2005

Runnicles at Carnegie Hall

Donald Runnicles, the longtime music director of the San Francisco Opera, has been earning excellent reviews for his conducting of Strauss’s “Rosenkavalier” at the Metropolitan Opera, a run that ends with a matinee performance today. But New Yorkers also know of him as the principal conductor of the Orchestra of St. Luke’s. Wearing that hat he appeared at Carnegie Hall for a program on Thursday night titled, rather too cutely, “Postcard From Prague.” »

01 Apr 2005

Eugene Onegin in Boston

Most operas are about love, but Tchaikovsky’s ‘’Eugene Onegin” is a special case because the composer took the subject so personally. Tchaikovsky’s own life was tracing the plot of Pushkin’s verse novel, with catastrophic consequences, and the music is full of yearning, passion, pain, and regret. »

01 Apr 2005

Genoveva in Boston

Three of the greatest composers of art songs — Schubert, Schumann, and Hugo Wolf — also harbored operatic ambitions. All of them wrote operas and set great store by them, but none has ever gained a foothold in the repertory. »

01 Apr 2005

Don Giovanni at the Met

Bleak but uproarious, bawdy but singed with hellfire, Mozart’s opera “Don Giovanni” is just as elusive as its title character. Philosopher Søren Kierkegaard identified Don Giovanni with music and desire: “a force, a wind, impatience, passion,” forever ungraspable. »

01 Apr 2005

Rosenthal's Children at the Bolshoi

New operas by Russian and Soviet composers once played a prominent part in the repertoire of Moscow’s Bolshoi Theater. But nearly 26 years have passed since the theater last produced an operatic world premiere. On Wednesday, the long drought finally ended with the staging of “Rosenthal’s Children,” a work fresh from the pens of St. Petersburg composer Leonid Desyatnikov and writer Vladimir Sorokin. »

01 Apr 2005

With the Face of a Tyrant Before Their Eyes

LA SCALA this past week has been like the Kremlin during the putsch against Mikhail Gorbachev. For days on end, no-one knew who was in charge or what was going on. The only certainty was that the world would never be the same again. »

01 Apr 2005

Cuba libre in Erfurt

Es wird nicht mehr lange dauern bis zur Forderung, Filmleute generell von Opernbühnen fernzuhalten. Nicht nur wegen der jüngsten Fehlschläge an großen Häusern, bei denen Filmregisseure und Kinoproduzenten mit Neuinszenierungen dilettierten – sogar in der sich charmant bemühenden Stadttheaterprovinz grassiert nun offenbar das cineastische Virus. »

31 Mar 2005

BRAHMS: Lieder, Complete Edition, Vol. 8

This latest release in the collaborative project to record the complete songs of Johannes Brahms focuses on four opus numbers, among the last groups of Lieder to be so designated by Brahms. The present recording represents typical songs from the so-called mature composer, most of these having been written between 1883-88. Each of the opus numbers includes a mix of texts drawn from the works of contemporary, well known poets and from the milieu of popular folk-songs. As an example of this mix, the songs from op. 97 comprise settings of poems by Reinhold, Alexis, and Groth, as well as two songs for which the source is simply given as Volkslied. As in most of the previous releases of this project, the singers Juliane Banse and Andreas Schmidt divide the repertoire and are accompanied by the pianist Helmut Deutsch. »

31 Mar 2005

The Ring of the Nibelung in Chicago

Valhalla proved to be a failed paradise for Wotan and his band of doomed gods and goddesses in Wagner’s epic set of four related operas, “The Ring of the Nibelung.’’ But Lyric Opera of Chicago audiences are experiencing the real thing this week as the company opens the first of three weeklong revivals of its production of the “Ring’’ unveiled in the 1990s. »