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Elsewhere

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Bampton Classical Opera 2016

A Double-Bill of Divine Comedies

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

A Conversation with Sir Nicholas Jackson

With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.


OPERA TODAY ARCHIVES »

Reviews

04 May 2016

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage. »

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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. »

31 Mar 2005

Raimondi, Kirchschlager and Newcomers in Wiener Staatsoper's Le nozze di Figaro

Schlecht war der erste Eindruck. Einen ganzen Akt lang häuften sich nur Probleme, Missverständnisse und verpuffte Pointen. Ein neuer Figaro mit Höhenproblemen, ein Hausdebütant als Graf, der ständig Gefahr lief, über sein Kostüm zu stolpern – und das ganze Ensemble immer wieder ehrlich überrascht von Jun Märkls Tempi und Zäsuren. Dass die Sänger desto besser wirkten, je länger und genauer sie Ponnelles bald 30 Jahre dienende Inszenierung bereits kannten, stellte der Probensituation an der Staatsoper wahrlich kein gutes Zeugnis aus. »

30 Mar 2005

LAURIDSEN: Lux aeterna

The title piece, Lux aeterna (light eternal), a five-movement work by American composer Morton Lauridsen (b.1943), is intended to be an “intimate work of quiet serenity.” The composer’s quest for texts that express “hope, reassurance, faith and illumination in all of its manifestations,” results in a free compilation from various liturgical observances or feasts: the Introit from the Requiem; select verses of the Te Deum, sung at the end of Matins on Sunday or in thanksgiving for a special blessing, interpolated with a verse from the Beatus vir (Ps. 111:4); verses from O nata lux, the Lauds hymn for the feast of the Transfiguration; Veni sancte spiritus, the sequence for Pentecost; and the Agnus Dei and Communio from the Mass for the Dead with an “Alleluia” tag added by the composer. Admittedly, the work is non-liturgical. Still, the fashioning of these texts causes the work to be viewed by some as a “Requiem” or quasi “German Requiem.” Indeed, it is neither a Requiem nor a Mass for the Dead, in spite of the opening and closing movements. As a meditation on “light eternal,” texts other than those from the Requiem could have been used. One need only read the Exsultet, which overflows with the symbols and imagery of “the Light” that conquers death, and which dispels darkness. Further, the theme of the texts used in the three inner movements is more Trinitarian (Te Deum = God the Father; O nata lux = God the Son; Veni sancte spiritus = God the Holy Spirit). Unfortunately, their importance and strength is reduced to the occurrence of the word “light” in their verse. That being said, the texts are not what the ear remembers in this work; it is the music. The words are merely the vehicle for the vocalists. »

30 Mar 2005

Gassmann's A Gas

Florian Leopold Gassmann must have been a gas. There is nothing funny about his other 21 operas but L’Opera Seria is a scream. Everything is lampooned, from squabbling stage mammas to brainless tenors. We know little about the piece’s 1769 premiere, but the audience at Vienna’s Burgtheater must have hyperventilated. »

30 Mar 2005

Aprile Millo in Philadelphia

NEW YORK – Few cosmic mistakes have ever been so glaring: Soprano Aprile Millo, who embodies the traditional operatic values that Philadelphians hold dear, hasn’t sung here in nearly 20 years. »

29 Mar 2005

VERDI: Falstaff

Years ago I remember reading a commentary on Verdi by a respected critic — Conrad L. Osborne — to the effect that most of early Verdi could have been written by Donizetti except for the first great success, Nabucco, that could have been written by Rossini. If one accepts that proposal, it would mean that Rossinian operas bracketed Verdi’s career, for surely Falstaff, at the very end, reflects the energy, elegance, joyousness and sophistication of Rossini from one end to the other. »

29 Mar 2005

Maria Callas — Living and Dying for Art and Love

The legend of Maria Callas has transcended her death, and after more than twenty five years, titans of opera still proclaim her the ultimate Diva: artist, actress, musician, lover and woman. Iambic Productions and BBC’s 2004 DVD, Maria Callas: Living and Dying for Art and Love, is a fascinating look at the life of Callas from the perspective of her final role and performance at Covent Garden, Tosca. »

29 Mar 2005

Three Renderings of Faust in New York

Knowledge and the unknowable are the keys needed to unlock the 19th-century perception of the Faust myth. The modern idea of a deal with the devil for financial or carnal supremacy is completely irrelevant, and speaks volumes about the difference between 20th-century thought and that of its antecedents. In breaking free of the restrictions of formalism and established religion, however, the Romantics in literature incorporated some cautions of their own. »

29 Mar 2005

Tchaikovsky's The Maid of Orleans in Washington

WASHINGTON, March 27 – “The Maid of Orleans” was to have been Tchaikovsky’s international coming-out party. The Russian landscapes of his previous operas were left behind. His subject would be Joan of Arc. Tragic romance and history would circle each other in the grand French tradition of Meyerbeer. »

29 Mar 2005

Bach's St. Matthew Passion at the Barbican

Like any masterpiece, Bach’s St Matthew Passion can be approached in different ways. Interpretations have varied from austere meditations on the crucifixion to music dramas of almost tragic implacability. Richard Hickox’s Good Friday performance with the City of London Sinfonia and the BBC Singers veered towards the latter, presenting us with an almost operatic experience, characterised by wide emotional fluctuations rather than contemplative homogeneity. »

29 Mar 2005

More Degradation from Calixto Bieito

Rape, alcohol abuse, lesbianism and gratuitous violence: these are the themes of both Cavalleria Rusticana and I Pagliacci, as Calixto Bieito sees it. Odd. They were also the themes of the last opera he staged. And the one before. Can it be coincidence or did Mascagni, Leoncavallo, Mozart and Verdi all write operas featuring fisting? »

28 Mar 2005

BEETHOVEN: Fidelio

I grew up during the Age of LP and compared with CD’s the size had its disadvantages but there were some distinct gains as well, especially in the field of artwork. Collectors may have the same set on CD but they will rarely separate from those glorious RCA-Soria recordings like Carmen (Price, Corelli) or Otello (Vickers, Gobbi) with their lavish booklets. Though there are no colour photographs in this set under review I nevertheless was reminded of those old glories. This 4Cd-set is so wonderfully packed and designed into what looks like a small hard cover book that just paging in it gives one already some joy. Of course, neither performance is a great discovery for the collector. The Böhm-set already appeared twice on LP and twice on CD. The Furtwängler only has one LP- and one CD-reissue, which is quite understandable as the conductor led exactly the same cast the same year for a commercial recording on HMV (3 LP’s) and with all spoken dialogues cut as if producer Legge didn’t trust the singers to speak their lines. At the time he was not alone in this false belief. The next commercial Fidelio (Fricsay) came out on DG with actors for the dialogues; an even more ridiculous solution as one could clearly hear the differences in timbre between actors and singers. »