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Elsewhere

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta


OPERA TODAY ARCHIVES »

Reviews

A scene from Nabucco [Photo courtesy of Serbian National Theatre, Novi Sad]
22 Nov 2014

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.  »

Recently in Reviews

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24 Jan 2005

Samson and Delilah at Opera Carolina

Maybe Camille Saint-Saens should’ve chosen his friends more carefully. When he marshaled a singer to treat them to two arias from an opera he was working on – about the biblical tale of Samson and Delilah – they scoffed. »

24 Jan 2005

Missa Solemnis at Chicago

Two of Beethoven’s most difficult yet most inspiring masterpieces, “Fidelio” and “Missa Solemnis,” are making Chicago the epicenter of a grand Beethoven festival. Each work is a heroic undertaking that tests the performers’ mettle to the utmost. And yet, with soprano Karita Mattila leading Beethoven’s only opera to triumph at Lyric Opera, and, the Chicago Symphony and Chorus delivering a strong and stirring performance of the “Missa Solemnis” this weekend at Orchestra Hall, one comes away exalted, grateful to have heard these pieces performed at the highest level. »

23 Jan 2005

Kurt Schwertsik's Katzelmacher at Neue Oper Wien

Der kabarettistisch freche Ton der Pariser Moderne der Dreißigerjah re ist es, der Kurt Schwertsik fes selt. Das bekannte er jüngst im Gespräch. Dieser Ton weist ihm offenkundig auch den Weg in Gefilde des Musiktheaters, die nichts mit den erdschweren, klangwuchernden Experimenten der deutschen und österreichischen Moderne der Nachkriegszeit zu tun haben, sondern sich am moralisierenden Unterhaltungstheater der Zwischenkriegszeit orientieren, das nicht nur von den Franzosen – in einer durchaus konsequent aus dem ursprünglichen, sozialkritischen Operetten-Esprit eines Jacques Offenbach – entwickelt wurde. »

23 Jan 2005

Cantors & Capellmeisters at Queen Elizabeth Hall

WHEN a programme contains music by Gregor Aichinger, Philipp Friedrich Böddecker, Daniel Bollius and Johann Christoph Pezel, to name only four (or is it ten?), an auditorium less than full might, unfortunately, be suspected. These are 17th-century German worthies known largely to scholars alone. But why can’t audiences be more adventurous? In that century you’re bound to get memorable tunes, catchy rhythms, enticing counterpoint: I don ’t see what the problem is. »

22 Jan 2005

A Disarming Pelléas et Mélisande

You cannot blame this longtime lover of Debussy’s “Pelléas et Mélisande” for being suspicious when L’Opéra Français de New York announced that it would present a staged production of the work in its “original version” for voices and piano. No orchestra? Wasn’t this small company simply producing the opera on the cheap? The L’Opéra Français production opened on Wednesday night at the French Institute Alliance Française on East 59th Street, and it was a revelation. »

22 Jan 2005

Così fan tutte at Wiener Staatsoper

Mag sein, manch einer findet die forsche Gangart, die Julia Jones bei Mozart einschlägt, ein wenig zu schnoddrig. Doch erweist sich: Die Dirigentin weiß in jeder Phase einer Aufführung, was sie will, behält die Übersicht über die Dramaturgie und hält Orchester und Bühne immer fein zusammen – und das in raschem Lustspielton. Alles Eigenschaften, die heutzutage offenkundig auch in der Wiener Staatsoper rar geworden sind. »

21 Jan 2005

BERLIOZ: Les Troyens

For the last couple of decades, the “concept production” has been a controversial presence on opera stages, generally director-driven and decried by traditionalists as detracting from the essence of opera which they define as “voice, voice, voice.” Here’s a refreshing and overdue variant, a production concept that is conductor-driven, devoted to rethinking the sound and casting principle appropriate for French grand opera by starting at the top with the grandest of them all. The point is often made that we now lack heroic voices for the great works. John Eliot Gardiner’s casting argues, rather convincingly I think, that “heroic” is a concept relative to an opera’s overall style and the period in which it was written. He casts in the French tradition that knows the difference between a German heldentenor whose strength lies in the middle and bottom of the voice, and a French heroic tenor, of whom is demanded a free and brilliant top and the ability to soar over ensembles with precisely focused tone. Many in this cast are associated with music of the Renaissance, Baroque and early nineteenth century. Their voices are clearer and lighter than we have become accustomed to in Les Troyens and Gardiner surrounds them with a chorus that can not only move and act with distinction, but whose voices in ensemble have the required buoyancy, flexibility and brilliance for Berlioz’s demanding choral writing. »

21 Jan 2005

An Evening With Clara's Piano

Among the often spurious partnerships beloved by musical history — Bach and Handel, Bruckner and Mahler, Britten and Tippett — that of Schumann and Brahms at least has the merit that the composers were not actually antithetical in style and manner. They were, if not a conscious partnership, a powerful joint force for the perpetuation of classical values in the 19th century, the elder — Schumann — the sponsor and active publicist of the other. Brahms was “discovered”, encouraged, sustained and venerated by Schumann. He, in turn, devoted his whole bachelor life to the succour of the Schumann family, giving rock-like support to Clara Schumann as her husband’s syphilitic madness took him over, and seeking to preserve Schumann’s oeuvre at its most illustrious and least clouded-over, withholding publication of some later works. »

21 Jan 2005

It's Shag-A-Delic, Baby!

Perhaps the Tippett centenary has come too soon, and the seven years since the composer’s death have been insufficient for his achievement to be digested and for the anniversary celebrations to take on any real significance. But no matter how much time had passed, I doubt that his third opera, The Knot Garden, will ever seem more than a period piece, wedded to the late 1960s when it was written. »

21 Jan 2005

Generallissimo Francisco Franco is still dead

After some wild recent productions it comes as a surprise to find a Don Giovanni set in Spain, as Mozart intended. How many directors care to remember that Don Giovanni’s tally of women there numbered 1,003, as Leporello’s catalogue reminds us every time we see the opera? Having decided on a Spanish setting, Opera North’s new production tries to make the most of it. Photos of bullfights are flashed across a screen to draw a glib parallel with Don Giovanni the predatory sexual toreador. The cast gird their loins for some rather dubious Spanish dances. And — most important — the time is updated to the Spanish Civil War, bringing the class antagonism of the opera into modern focus. »

20 Jan 2005

BERG: Wozzeck

Andante’s new mastering of famous live performances aims to capture what those performances might have felt like. This gives these recordings an automatic cachet of authenticity and a kind of cult status. However, much depends on the quality of the particular performance. The skill is to choose quality performances that really are interesting in themselves, and to remaster them in ways that do them justice. The Andante series comes impressively packaged, with luxuriously bound booklets, beautifully presented. However, in this case the music does not quite match the promise. Worthy as this performance is, and worthy it is indeed, it is not an ideal first choice. Artistically it is good, but best appreciated by those who know Abbado, Boulez, Dohnanyi and even Böhm’s later recording. While I’m one who listens for music, not for sound quality, in this case the sound quality is poor enough to distract – not enough to ruin listening, for it would take a lot to deter a genuine listener – but just enough to feel that you’re listening through an artificial medium. This may have been recorded live, but it doesn’t “feel” live, with the pops, crackles and occluded passages. Ultimately that defeats its own purpose. »

20 Jan 2005

Karita Mattila — A Stunning Leonore

'Fidelio' returns Lyric, cast rise above flawed Beethoven opera By John von Rhein Tribune music critic January 19 2005, 1:00 AM CST "Fidelio" has been missing in action at Lyric Opera for nearly 24 years, much too long for... »

20 Jan 2005

Live from New York — Death and Transfiguration

The level of Luciano Berio’s music was still on the ascent when he died two years ago at 77. “Stanze” – five poems for solo voice, chorus and orchestra – were his last pieces, and they shine with poise and quiet confidence. We are reminded that the possibilities of instrumental combinations are far from exhausted. The Philadelphia Orchestra under Christoph Eschenbach introduced New York to “Stanze” at Carnegie Hall on Tuesday night, adding Act III from Wagner’s “Parsifal” in concert form. Paul Celan’s “Tenebrae,” the first poem, is accompanied by drifting, attenuated chords of extraordinary beauty. If Berio’s music moves slowly, or sometimes not at all, there is activity within: textures swelling and contracting like lungs, woodwind colors swimming and undulating. So striking are the sounds that high drama is unnecessary. »

20 Jan 2005

Renée Takes Seattle

Renée Fleming came and conquered the full house Tuesday night at Benaroya Hall. Now 45, the soprano is in her prime, not only with that voluptuous voice but her musical acuity and dramatic instincts. When singers become as famous as Fleming, connoisseurs find something to criticize, often justified: a mannered style or lackluster ambition in terms of repertory, for instance. When the voice is as gorgeous and gleaming as Fleming’s, there is always the danger the singer will be content to deliver a pretty sound and little else. »

20 Jan 2005

Pelléas et Mélisande in New York

NEW YORK Sigmund Freud’s seminal “Interpretation of Dreams” was published in 1900. But Claude Debussy had already poked around in the unconscious in his landmark opera “Pelléas et Mélisande,” which he had essentially composed (though not orchestrated) by 1895. Of course, Maurice Maeterlinck, whose play Debussy adapted into his opera, had been treading through Freudian terrain even earlier. Maeterlinck, a leading figure in the Symbolist movement, which arose in the 1880s, espoused veiled emotions, mystery and indirection over realism. »

20 Jan 2005

The Russians Bomb at Kennedy Center

What were they thinking? The “Kirov Spectacular” — which opened last night at the Kennedy Center Opera House — proved the sort of celestial vaudeville that should have . . . well, gone out with vaudeville. It seemed a generous program — some three hours of selections from ballets and operas performed by the Kirov Ballet, Opera and Orchestra of the Mariinsky Theatre, under the direction of Valery Gergiev. But the pieces had little to do with one another (indeed, they could almost have been chosen by lottery) and the musical performances were too often shopworn and lackluster — a scanty reward for those who managed to find their way to the Kennedy Center through the cold, clotted streets of pre-inauguration Washington. »

19 Jan 2005

Manon Lescaut at Seattle — Two Reviews

Puccini’s “Manon Lescaut,” which Seattle Opera has produced only sporadically in its 40-year history, is a work that goes in fits and starts. Moments of genuine inspiration and compelling drama mark the composer as a man of genius, but in this early opera, his talent is not always consistent. The demands on the tenor are notoriously difficult. So, with its eyes wide open, the company mounted the third production in its history to bring in the new year Saturday night at McCaw Hall. It succeeded more than many efforts without breaking the bank, using conventional but serviceable sets and costumes from Montreal Opera. »