Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.


OPERA TODAY ARCHIVES »

Reviews

30 Sep 2014

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.  »

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 
01 Feb 2005

Vivaldi's Farnace at Resonanzen 2005

Dreizehn als Glückszahl: Das 13. Festival Alter Musik wird in die Annalen des Wiener Konzerthau ses als besonders geglückt eingehen. Das kenntnisreich zusammengestellte Programm deckte nahezu alle wesentlichen Epochen, Nationalstile und Klangmöglichkeiten Alter Musik ab; fast durchwegs gut gewählt waren die Interpreten, und der Almanach könnte so manches historische und musikgeschichtliche Handbuch ersetzen. »

01 Feb 2005

Doina Dimitriu Wows Chicago

The season’s first performance of Puccini’s “Tosca” at Lyric Opera on Monday night brought an authentic slice of operatic history to the Civic Opera House: The vintage production director Franco Zeffirelli mounted in 1964 for London’s Royal Opera to lure Maria Callas out of semi-retirement. Tito Gobbi, the great Scarpia of his generation, was her co-star. The well-worn staging has done honorable service for more than 40 years, having seen 38 revivals and 242 performances before it was finally retired in July. The classic production was promptly bought lock, stock and battlements by Lyric Opera, which is dedicating it to Gobbi’s memory. »

01 Feb 2005

La Traviata at Covent Garden

Verdi demanded three qualities for his “fallen woman”: looks, anima (soul) and a good stage presence. What he did not want was a glossy prima donna. The part broke convention not just histrionically, in its depiction of a contemporary prostitute, but also vocally. It needs a soprano agile enough to throw off the Act 1 coloratura, and strong enough to meet the dramatic requirements of Acts 2 and 3. That’s asking a lot, and most sopranos fall short. So it was fascinating, at the Royal Opera’s latest revival on Saturday, to come across Norah Amsellem. She has period looks, a pretty smile, a malleable physiognomy. She knows how to adapt her whole demeanour to Violetta’s changing situation, so that the figure we behold on stage is not an opera singer but a human being with the power to disarm us emotionally. That may be a gift of acting, but it also reflects Amsellem’s complete identification with the music. Her soprano is a bit one-dimensional, especially at the top, and she proved a surprisingly plain letter-reader. In all other set-pieces she had the theatre spellbound. “Dite alla giovine” and “Addio, del passato” were especially effective: Amsellem sang them in a beautifully controlled half-voice, stretching the tempo to its very limit. Some might call it self-indulgent; to me it sounded like the truth. »

31 Jan 2005

La Forza del destino at Opéra Royal de Wallonie

So this was how a Forza would have sounded in the fifties and sixties in one of the better Italian provincial houses. At that time those extinguished species (lirico-spinto tenor and soprano) were still in abundant supply and one could easily hear nowadays forgotten names like Zambruno, Mori, Vicentini, Borso on the male and Mancini, De Osma, Barbato etc on the female side: big booming voices, maybe not always very subtle but steeped in the Verdian tradition and not afraid to give unstintingly all of their voices as if there is no tomorrow. »

30 Jan 2005

The Cambridge Companion to Grand Opera

Among the recent publications on opera, The Cambridge Companion to Grand Opera, edited by David Charlton, breaks new ground with its systematic and thorough exploration of grand opera, a specific part of the genre which played an important role in the musical culture of the nineteenth century. »

30 Jan 2005

A Batallar Estrellas — Music in Spanish Cathedrals of the Seventeenth Century

Interest in the music of “New Spain” (the Spanish colonies in the Americas) has blossomed in the last decade, with a number of fine recordings of sacred music composed by musicians who emigrated to the New World in support of the mission of the Catholic church. A parallel interest in the music of those who stayed in Spain – indeed, who set the tradition that was exported to the Americas – has been slower to build, so this recording is especially welcome, since it provides an opportunity to hear a tradition seldom performed outside of Spain, whether in the Baroque era or in the present. »

30 Jan 2005

WAGNER: Die Feen

How narrow-minded can one be ? Very much so in the case of Richard Wagner who succeeded in not mentioning once the name of Verdi in all his writings. And is not his decision to banish his early youth works from the Bayreuth-barn rooted in that same mentality ? Of course during his lifetime he was the subject of many attacks and maybe he feared to be the victim of ridicule with critics dissecting every bar of Die Feen, Das Liebesverbot and Rienzi and looking for influences of other composers. Rienzi and Liebesverbot had been staged while he lived but Die Feen was only known by a few selections and he never took pains to have his first opera performed at a time when he could easily have done it. Die Feen was premiered 5 years after his death and then led a rather undistinguished life of a few performances. Still the amount of bigotry of his successors is even greater, considering that Siegfried Wagner himself was a composer of fairy tales and should not have respected his father’s wish not to perform Die Feen. The grandchildren complied as well though one can understand their motives. As Wagner lost some of his hallowed reputation during the fifties and the sixties, the stock of Verdi rose very high indeed and maybe it was not in the Wagners’ interest to show the more amateurish trials of granddaddy. Eva Wagner, Wolfgang’s estranged daughter who should have succeeded him long ago, was the first to offer a business plan for a new New Bayreuth where Die Feen, Rienzi and even the operas of composers who influenced the maestro would have their place. And then music lovers could at last hear and see what the fuss is all about if there is something to be excited about. Well, there is. The overture is a gem, all of its 11 minutes and almost worth the purchase of the set. Yes, it’s easy to trace the influence of Mozart and especially Weber but 20-year Wagner had a voice of his own as well, different from that of his contemporaries. Wagner was twelve years younger than Lortzing who could easily have treated the same fairy subject but one immediately hears the far richer orchestration, the ease Wagner has in composing more complicated arias and ensembles. And one regrets somewhat that the mature Wagner gave his best tunes to the orchestra instead of sticking with the singers like the youthful composer still did in the old tradition. »

29 Jan 2005

Barbiere in Madrid

Rénové en 1997 avec un luxe inouï, le Teatro Real de Madrid ne lésine pas non plus sur la qualité des productions. Du rare Osud de Janacek en 2003, marqué par la qualité de la mise en scène de Bob Wilson, de l’orchestre et de la distribution vocale, ne reste que des souvenirs et des photographies, faute de producteurs intéressés par la réalisation d’un DVD. Ce ne sera pas le cas de ce nouveau Barbier de Séville, dévoilé il y a quelques jours, diffusé par Arte dans une semaine, et bientôt dans les bacs. En filmant trois représentations successives, l’ambition est d’offrir le meilleur Barbier en DVD du marché. »

28 Jan 2005

Don Giovanni in Baltimore

The elegantly regilded Hippodrome Theatre could be mistaken for an old-world opera house. On Wednesday night, for three hours at least, that’s exactly what it was. Teatro Lirico D’Europa — administratively based in Hunt Valley — presented a fully staged production of Don Giovanni that offered sufficient entertainment value and demonstrated the theater’s flexibility. »

28 Jan 2005

Poppea at Palais Garnier

Parisians do not like camp. David McVicar’s production of Monteverdi’s last opera was jeered in October at the Théâtre des Champs Elysées and now David Alden has met the same fate. This is unfair because his use of radical kitsch is altogether more sophisticated and his manipulation of the singers faultlessly choreographed. In any case, this classic staging dates from 1997, when it was first seen in Cardiff and Munich. McVicar’s approach now looks like a pale copy of an industry template. »

27 Jan 2005

Singing Ives

In 2004, festivals and concerts commemorated the 50th anniversary of the death of Charles Ives, an insurance executive from Danbury and arguably America’s greatest native-born composer. Tonight and Sunday at Wesleyan University’s Crowell Recital Hall, the tribute will continue with the first of several recitals surveying Ives’ 129 songs. »

27 Jan 2005

Siegfried's Id

Richard Wagner loathed the first performances of Der Ring des Nibelungen, which he scrabbled together at his own theatre in 1876. “Next year we’ll do everything differently,” was the mildest comment he had to offer, and the most convenient for directors eager to distinguish their Ring productions from all others. »

27 Jan 2005

The Tsar's Bride in Moscow

Following its disastrous staging last April of Georges Bizet’s “The Pearl Fishers,” I had high hopes that Novaya Opera would get itself back on track by turning to a classic of Russian opera for its next production. But, at its debut last Sunday, the theater’s new version of Nikolai Rimsky-Korsakov’s “The Tsar’s Bride” proved, if not a disaster, at least a major disappointment, due mainly to the muddled stage direction of Yury Grymov and the theater’s decision to discard as much as a third of the opera’s music. »

27 Jan 2005

Agony and Ecstasy in LA

Nearly a century separates the two beguilements installed at the Music Center in recent weeks: Giuseppe Verdi’s Aida of the 1870s and Luciano Berio’s Laborintus II of 1965. Nobody would mistake the style or purpose of the one for the other; they are both shrewdly welded to the taste of their respective times. Something grander links them – an innately Italian sense of theater that unites all the arts of the region into a single onrush of word, music and movement. To the north, Richard Wagner made a great fuss as he dreamed up his “total artwork” concept with ream upon ream of explanatory philosophy. To the Italian spirit, that unity of the expressive arts was simply a form of breathing. Petrarch, Monteverdi, Tintoretto, Berio . . . just the names by themselves take on a theatrical dimension. »

25 Jan 2005

SCHUBERT: Alfonso und Estrella

New artists are taking greater chances with repertory, looking for niches to call their own. Dawn Upshaw explores new music, Cecilia Bartoli eighteenth-century Italian song, and in this live recording up-and-coming artists Eva Mei and Rainer Trost take on the lead roles in Schubert’s Alfonso und Estrella. Mei and Trost’s sympathetic singing with the orchestra and chorus of the Teatro lirico di Cagliari conducted by Gérard Korsten breathes life into this choppy opera, which Liszt famously condemned as a work of only historical interest. »

25 Jan 2005

Kát’a Kabanová at Staatsoper Unter den Linden

Ihre Ruh’ ist hin, ihr Herz ist schwer. Die junge Frau im gelben Sommerkleid duckt sich in ihrem Stuhl, drückt die Hände in den Schoß, blickt nach oben. Diesmal ist es nicht Goethes Gretchen, das hier – um im jüngsten Grass-Jargon zu bleiben – “verthalheimert”, sprich: auf ihr sprachliches und inhaltliches Gerüst skelettiert wurde. Es ist die Kaufmannsgattin Katja Kabanova, die ihre einzige Sehnsucht, die Liebe zum schwächlichen Boris, mit dem Leben bezahlt und in die Wolga geht. So steht es in Alexander Ostrowskis Theaterstück “Das Gewitter” von 1859 geschrieben. Welches Michael Thalheimer, der kühlkopfige Minimalist unter den tonangebenden Theaterregisseuren, sicherlich auf das Wesentliche zurechtzustutzen vermocht hätte. Ohne russische Folklorismen und Nebenhandlungen, nackt, statisch, als pure Versuchsanordnung. »