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Elsewhere

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

World Premiere of Jennifer Higdon’s opera Cold Mountain at Santa Fe Opera this August

East Coast Premiere at Opera Philadelphia next season. Performances from Cold Mountain at the Guggenheim in New York this Monday, March 30.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Winners of the Metropolitan Opera National Council Auditions Announced

Five Young Singers Named Winners of the 2015 Met National Council Auditions, America’s Most Prestigious Vocal Competition

A Chat with Julia Noulin-Mérat

Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Mirabai: New opera, holograms and eternal love

A brand new opera — especially one that is groundbreaking— can really put an opera company on the map. British composer Barry Seaman’s stunning new work, Mirabai, which explores the story of the free thinking, mystic 16th century Hindu princess, Mira, is ambitious on many levels — artistically, technically and creatively.


OPERA TODAY ARCHIVES »

Reviews

Franco Pomponi as Richard Nixon and soprano Maria Kanyova as Pat Nixon [Photo by Ken Howard]
26 Mar 2015

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.  »

Recently in Reviews

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10 Feb 2005

Reviving Mendelssohn's Revival

On March 11 1829 a marker was set down in musical history, when the 20-year-old Mendelssohn realised an ambition to give the first performance in “modern” times of Bach’s St Matthew Passion – a scheme dismissed by his elders as the fantasy of a couple of “snotty-nosed brats”. »

09 Feb 2005

La Clemenza di Tito — Another View

“Classy” is not a word we have come to associate with English National Opera in recent years. Populist, perhaps. Attention-seeking, certainly. But with Mozart’s late opera seria, ENO returns to the old-fashioned virtues of ensemble, intelligibility, beauty, truth. They should be obvious, shouldn’t they? But we rarely encounter them in harmony, as we do here in a production directed by David McVicar, conducted by Roland Böer and shared with the Royal Danish Opera. »

08 Feb 2005

Glass's Akhnaten in Boston

The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass’s Akhnaten last week five years to the day after the work’s Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass’s work could be had. »

08 Feb 2005

Prokofiev's The Love for Three Oranges in Toronto

When you hear a stage prince sing, “Dear orange, we’re finally alone together, just you and me,” you know you’re not listening to the usual grand-opera fare. But, then again, Opera In Concert is not about presenting the Opera America Top 10 list. »

08 Feb 2005

David Daniels in Salt Lake

Even if you have heard a countertenor sing before – and judging from intermission chatter Saturday in Libby Gardner Hall, not many people have – you’ve never heard anyone sing like David Daniels. Daniels, credited with helping revive interest in early operas as well as the countertenor voice, wowed the Libby Gardner crowd with his versatility, stage presence and genre-transcending musicianship. Mozart’s Lieder, Fauré art songs, arias by Handel and Purcell, American folk songs and contemporary music: Daniels brought something distinctive and compelling to them all. »

08 Feb 2005

Christine Schäfer Leaves Lasting Memories in New York

In the early days of the early music movement, ensembles and artists competed with one another over who knew the most about performance styles of the Baroque and Classical eras. The authenticity sweepstakes still goes on. But such insight takes you only so far. I’m sure the musicians of the renowned Freiburg Baroque Orchestra from Germany are as informed about early music performance practices as comparable ensembles. But what made their concert on Sunday afternoon at Alice Tully Hall so gratifying was the vitality and imagination of their playing – qualities that transcend any era. »

08 Feb 2005

La Clemenza di Tito at ENO

Mozart’s La Clemenza di Tito was written to celebrate the coronation of the Habsburg emperor Leopold II as king of Bohemia in 1791. The date, two years after the French Revolution, is significant. Depicting a botched attempt to assassinate the Roman Emperor Titus, and his subsequent refusal to execute the conspirators, the opera examines the implications of the idea of benevolent autocracy and draws the conclusion that enlightened government necessitates absolute solitude and emotional isolation. »

08 Feb 2005

Nina Stemme as Marguerite in Frankfurt am Main

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods “Faust” in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim. Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im “Ring”. Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt. »

07 Feb 2005

Arabella at Bayerische Staatsoper

Beste Stimmung im Nationaltheater. Und das nicht nur, weil auf der Bühne jahreszeitlich korrekt der Fasching tobte. Nein, nicht die bunten Luftschlangen und närrischen Hütchen peppten den Abend auf, sondern die Sänger. Sie heizten mit ihrem Totaleinsatz die x-te Repertoirevorstellung von Richard Strauss’ “Arabella” so an, dass das Abo-Publikum seine helle Freude hatte. Münchner Opernalltag, der im großen Jubel endete. »

07 Feb 2005

MAHLER: Songs

While a number of fine recent recordings of Mahler’s Lieder with orchestral accompaniment have been released in recent years, his songs are also of interest in the versions the composer made for voice and piano. In presenting the songs with piano accompaniment, Stephan Genz and Roger Vignoles bring out details that can become apparent only in this setting. Genz is known for his fine recordings of Lieder, include the award-winning CD of Beethoven’s Songs, as well as various recordings of Hugo Wolf’s Lieder (all on Hyperion). In this recording of Mahler’s music, he performs with Vignoles three complete sets of Lieder, that is, the cycles Lieder eines farhrenden Gesellen and Kindertotenlieder, as well as the set of Fünf Rückert-Lieder and, further, seven selections of settings from Mahler’s early publication of Lieder und Gesänge. »

06 Feb 2005

Handel's Julius Caesar in Denver

Stephanie Blythe recalls exactly where she was 10 years ago when she fully grasped the power of great acting in opera. Then an apprentice artist at the Metropolitan Opera in New York City, the mezzo-soprano was standing offstage about 25 feet from famed tenor Placido Domingo as he sang a love duet in “Die Walküre” with soprano Deborah Voigt. »

06 Feb 2005

Carmen at Opera Australia

IT would come as a shock to opera-goers if the cast of Carmen were suddenly to break into a chorus of Sisters are Doing it for Themselves. They might be forgiving, however, once they heard the gospel-tinged tones of American mezzosoprano Andrea Baker, who sings the title role in the Opera Australia production that begins a six-week run under the baton of Russian conductor Alexander Polianichko at the Sydney Opera House tonight. »

06 Feb 2005

Venus and Adonis at Seattle

It may not have been the best of times or the worst of times, but it was certainly among the naughtiest of times. Restoration England, which marked the end of Cromwell’s Puritan regime with the accession of merry monarch Charles II, was an era that makes Paris Hilton seem like a convent girl and “Sex and the City” like a school picnic. In Charles II’s reign, all the prohibitions of Cromwell’s era were repealed; the theaters were reopened, low-cut lace replaced buttoned-up wool, and the royal motto was evidently “thou shalt party hearty.” »

06 Feb 2005

Gruberova Performs Norma at the Wiener Staatsoper

Für Edita Gruberova hat die Staatsoper eine konzertante Fassung von Vicenzo Bellinis “Norma” aufs Programm gesetzt. Endlose Begeisterung, Blumen, Stan ding ovations dankten Edita Gruberova und ihren Mitstreitern für einen packenden Opernabend, der die szenische Aufbereitung keinen Augenblick vermissen ließ. Gerne verzichtete man darauf, die zeitgebundene Schauerromantik der Druiden und ihrer Opferriten anno 50 v. Chr. leibhaftig vor sich zu sehen. Und mehr noch: Keine Regie-Eitelkeit lenkte von der puren Musik ab. »

05 Feb 2005

Das Wachsfigurenkabinett at the Münchner Reaktorhalle

Ein buntes Schaubudenprogramm, anmoderiert von zwei Damen in knackigen Kostümen, so präsentieren sich die fünf Kurzopern von Karl Amadeus Hartmanns “Das Wachsfigurenkabinett” in der Münchner Reaktorhalle (Regie: Stefan Spies). Der Inszenierung des ersten Stücks “Der Mann, der vom Tode auferstand” fehlt noch Witz und Schwung. Die Geschichte vom reichen Fabrikanten, der vor seinem Radiogerät einschläft und das Hörspiel von der Arbeiterrevolution für Wirklichkeit hält, leidet an den Schaufel schwingend auftretenden, plump marschierenden Arbeitern. »

05 Feb 2005

SMART: Mimomania: Music and Gesture in Nineteenth-Century Opera

Here's a serious niche book, a relatively slender volume dealing with a topic at once both arcane and surprisingly central to some of the major controversies in opera production today. I think it has major problems but it has become for me the pebble dropped into the pond that sends ripples to unexpected places, raising interesting questions in the process. »

05 Feb 2005

Star Cross'd Lovers In LA

Stale marzipan it may be, but given the appropriate set of protagonists, Charles Gounod’s ponderous 1867 adaptation of Shakespeare’s youthful tragedy still has the power to arouse the senses and engage, if not engulf, the soul. In Rolando Villazón and Anna Netrebko, the Los Angeles Opera has found doomed lovers who are as much star material as “star cross’d”. Whatever else is lacking in the first west coast production of the opera here in 18 years, the Mexican tenor and Russian soprano radiate youthful ardour, stylistic sophistication and sheer theatrical magic. »

04 Feb 2005

Democracy: An American Comedy in Washington

How is it possible that a new opera crammed with hot-button subjects—political corruption, ecclesiastical self-satisfaction, feminism, homosexuality—could be a blandly inoffensive entertainment? “Democracy: An American Comedy,” by composer Scott Wheeler and librettist Romulus Linney, commissioned by the Washington National Opera and given its world premiere last weekend, was disappointingly safe. Its provocative themes were smothered by a talky libretto that alternated between earnest exposition and sitcom jokes, set in smoothly tonal, insipid musical language. »

04 Feb 2005

An Evening of Soprana and Mezzo Duets at the Barbican

There are many profound experiences to be had in a concert hall, but an evening of soprano and mezzo duets isn’t one of them. Still, on the disc they brought out last autumn, Barbara Bonney, Angelika Kirchschlager and accompanist Malcolm Martineau managed to pick out some of the more interesting numbers in this frothy repertoire. Many of those made it into this recital – along with lashings of sugary charm, a few girly hugs and a line in the programme from Kirchschlager about how it wasn’t only their voices fitting together but their souls, too. Yeuch. »

02 Feb 2005

BELLINI: I Capuleti e I Montecchi

Surely the reader of this reviewer is passionate about opera – why else, faithful one, have you found yourself at the fount of information and wisdom knows as Opera Today? Therefore, the need for an outfit such as Premiere Opera need not be belabored – true opera lovers know that there sometimes arises a need to have a performance that cannot easily be obtained, and that need may trump the desire to have the recording, (whether only audio, or visual as well, as in the case of this DVD) be of optimal quality. So what we have here is a performance of April 7, 2002, at the Teatro Cuyas in the lovely Canary Islands. The opera is Bellini’s I Capuleti e I Montecchi, and the star gracing the stage as the lovely young Capulet is Cristina Gallardo-Domas. Perhaps it is her fans who will be most grateful to Premiere Opera for making available a record of the performance. Not to be slighted, however, is her imposing Romeo, a mezzo/trouser role. Daniela Barcellona is a rising star, and the reasons why are evident here. And Bellini lovers, as your reviewer knows well, are apt to want most any document of the master’s work, as the operas get performances but not as often as his fans might wish. »

01 Feb 2005

Thomas Hampson in Düsseldorf

Düsseldorf. Das Lied gehört zu den konzentriertesten Kunstformen überhaupt. Es ist einerseits, wie Thomas Mann sagte, “eine ganze Welt”, andererseits nimmt es nur wenig Zeit in Anspruch und bedarf lediglich zweier Musiker. Text und Musik vereinigen sich zu einer synchronen Sprache, die menschliches Empfinden in potenzierter Intensität ausdrückt. Aber das Lied ist auch eine für die Ausführenden anspruchsvolle Gattung. »