Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.


OPERA TODAY ARCHIVES »

Reviews

Barbara Hannigan
29 Aug 2016

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.  »

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  |  88  |  89  |  90  |  91  |  92  |  93  |  94  |  95  |  96  |  97  |  98 
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. »