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

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick about her Institute for Young Dramatic Voices

"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the HallĂ© Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.


OPERA TODAY ARCHIVES »

Reviews

01 Sep 2014

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way. »

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 
18 Jan 2005

Songs of Schumann, Vol. 9

The latest volume of Hyperion’s comprehensive collection of the Songs of Robert Schumann is an impressive recording of Schumann’s Liederalbum für die Jugend, Op. 79 (1849). The songs are settings with children in mind, and not necessarily music for children to perform; the texts are by a number of poets, such as Goethe, Hebbel, Schiller, Rückert, Uhland, and von Fallersleben. In selecting the texts for this collection of Lieder, Schumann touched upon a variety of subjects, including topics associated with children, like Christmas, and verse about animals (“Marienwürmchen” and “Die Schwalben”); other texts deal with seasons, like Spring (“Frühlingsbotschaft” and “Frühlingsgruss”) and the fantastic, as occurs in “Vom Schlaraffenland.” »

18 Jan 2005

Enescu's Oedipe at Cagliari

Il Teatro Lirico di Cagliari pur attraversando, come risaputo, un periodo difficile sotto il profilo strettamente finanziario da cui – con lo sforzo e l’impegno di tutte le maestranze e, soprattutto, di tutte le istituzioni pubbliche e private alle quali dovrebbero stare più a cuore le sorti e il bene della cultura musicale regionale e nazionale -, ci auspichiamo riesca anche con sacrifici ad uscire, ha inaugurato la stagione lirica e di balletto 2005 con “Oedipe”, tragedia lirica in 4 atti del rumeno George Enescu, su libretto di Edmond Fleg, in una nuova produzione dello stesso Teatro Lirico, in prima esecuzione assoluta in Italia e in versione originale francese. I responsabili del Teatro hanno così voluto perseverare nel percorso iniziato con successo di pubblico e di critica nel 1998 con “le Fate” di Wagner, proseguito nel 1999 con “Dalibor” di Smetana, nel 2000 con “Gli stivaletti” di Cajkovskij, nel 2001 con “Elena egizia” di Strauss, nel 2002 con “Euryanthe” di Weber, nel 2003 con “Opricnik” di Cajkovskij e “Alfonso und Estrella” di Schubert, nel 2004. »

17 Jan 2005

The Tsar's Bride at the Mariinsky

Anna Netrebko stars as the passionate and poisoned Marfa in the Mariinsky Theater’s new production of “The Tsar’s Bride. The Mariinsky Theater’s famous blue curtain rises and Grigory Gryaznoi, the mighty commander of Ivan the Terrible’s feared bodyguards, the oprichniki, bemoans his unrequited love for young beauty Marfa Sobakina. Gryaznoi sits on a shabby bench in a place resembling one of the so-called Culture and Leisure parks that were a typical feature of the Soviet era. A seashell-shaped summer theater with quiet alleys and a ferris-wheel in the background is the setting for a new production of Nikolai Rimsky-Korsakov’s 1899 opera “The Tsar’s Bride,” which premiered on Dec. 29 at the Mariinsky Theater. »

17 Jan 2005

Les Pêcheurs de perles at Metz

Dans le cadre de la programmation de l’Orchestre national de Lorraine, nous avons le plaisir d’assister à une représentation de concert des Pêcheurs de perles, ouvrage d’un charme indéniable quoique légèrement suranné d’un compositeur de vingt-cinq ans, encore tributaire de certaines influences (mais certainement pas de l’influence wagnérienne dénoncée par certains critiques à la création !), en bénéficiant de l’acoustique exemplaire de la grande salle de l’Arsenal. Le concert permet d’oublier l’indigence d’un livret dont les auteurs (Michel Carré et Eugène Cormon) avaient été les premiers à regretter les faiblesses, pour se concentrer sur les qualités de la partition. En effet, si Bizet apparaissait encore prisonnier des conventions de son époque et laissait peu deviner du génie dramatique qui s’exprime dans Carmen, ses Pêcheurs de perles ne manquaient pas d’atouts, et Berlioz, critique aussi lucide qu’exigeant, prit d’ailleurs la plume pour défendre un ouvrage recelant selon lui “un nombre considérable de beaux morceaux expressifs pleins de feu et d’un riche coloris”. A l’aune du chef-d’oeuvre à venir, cela peut sembler peu, c’est certain ; pour autant, la partition ne mérite probablement pas le dédain qui lui est ordinairement réservé par une certaine élite intellectuelle autoproclamée dont le sectarisme continue à faire beaucoup de tort à l’art lyrique. Les Pêcheurs de perles ne sont certes pas visités par le génie, mais ils témoignent d’un métier très sûr au regard de la jeunesse d’un compositeur déjà habile à trousser la mélodie et à colorer l’orchestre pour composer un orientalisme sans doute désuet mais tout à fait séduisant. »

17 Jan 2005

Britten's Billy Budd in Munich

Gut ein halbes Jahrhundert hat es gedauert, bis “Billy Budd”, Benjamin Brittens 1951 uraufgeführtes Meisterwerk, an der Bayerischen Staatsoper angekommen ist. Ein hochtheatrales Stück zwischen Seemannsgarn und Homoerotik, zwischen Kriegs- und Menschenrecht, zwischen verborgener (Zu-)Neigung und Pflichterfüllung. Ein Stück also, das “funktioniert” und berührt, wie der enthusiastische Premierenbeifall zeigte. Kein Buh, nicht einmal für Regisseur Peter Mussbach, dafür Bravi schon vor Beginn, als Kent Nagano, GMD ab 2006, den Graben enterte. »

17 Jan 2005

Don Giovanni at Vienna

Auf dem Programmzettel liest man: 136. Aufführung in dieser Inszenie rung. Tatsächlich: Wenn der Vor hang sich hebt, erblickt der Staatsopernbesucher die altvertrauten Kulissen der einst von Franco Zeffirelli betreuten “Don Giovanni”-Produktion. Sie ist über 30 Jahre alt und ersetzt aus unerfindlichen Gründen schon wieder die erst vor zwei Jahren aus dem Theater an der Wien ins große Haus übersiedelte, jüngere Inszenierung. »

17 Jan 2005

Death of Columbus at Pittsburgh

When is an opera not an opera? The world premiere of Leonardo Balada’s “Death of Columbus”—performed in concert form Friday evening in Carnegie Music Hall—raises the question. It’s not just the lack of scenery, costumes and staging for this occasion, but the nature of the work itself. There was a feeling that scenery, costumes and staging might not have made much difference. »

15 Jan 2005

Parsifal at Wiener Staatsoper

VIENNA, Jan. 14 – Sir Simon Rattle, arguably the leading conductor in the world, had never conducted at the Vienna State Opera until Wednesday night, when he made his debut with a bang, and with Wagner’s five-hour “Parsifal.” “Parsifal” is commonly labeled Wagner’s Christian opera. At the very least it is a tale about redemption, and many conductors limn it in hovering clouds of mysticism. »

14 Jan 2005

SCRUTON: DEATH-DEVOTED HEART — Sex and the Sacred in Wagner's Tristan and Isolde

Roger Scruton’s new book is an engrossing attempt, intensely argued throughout, to persuade the reader that Richard Wagner’s Tristan and Isolde is a religious work, not only in the vague sense that it elevates our feelings into an exalted condition that strikes the non-religious as “religious”, but in the precise sense that it incarnates, as the Eucharist incarnates the doctrine of Christianity, a doctrine that would give our meaningless lives a sufficient meaning if we were to believe and follow it. Nearly half a century ago, Joseph Kerman, in Opera as Drama, called Tristan “a religious drama” and suggested an analogy between it and Bach cantatas dealing with religious conversion and conveying religious experience. Twenty years later, Michael Tanner, a resolutely acute writer on Wagner, described Tristan and Bach’s St Matthew Passion as the two supreme examples of works “of which it is a prerequisite that one suspends disbelief . . . in the ethos which the work embodies and promulgates”. At the same time he admitted that the love unto death of Tristan and Isolde is not “a kind of living that can be rationally valued”. More recently and less cautiously, in his Wagner, he calls Tristan “the one work of Wagner’s which seems to be making an unconditional demand on our capacity to embrace a new, redeeming doctrine”. »

14 Jan 2005

MAGEE: THE TRISTAN CHORD — Wagner and Philosophy

Wagner, bloody Wagner; will we ever have done with the man? I don’t suppose that we’ll ever have done with his operas. For many of us, they are indispensable art; among the defining achievements of the Western tradition. “There is no music deeper . . . and no drama deeper either. (The Ring) is enough in itself to place Wagner alongside Shakespeare, Michelangelo and Mozart.” If you don’t think Wagner is that good, you won’t like Wagner and Philosophy, Bryan Magee’s new book about him. Whether or not he is that good, there is surely a problem that arises insistently about Wagner but not Michelangelo or Mozart or, least of all, about Shakespeare: that of getting the art clear of the artist. Shakespeare is notorious for disappearing from his plays, but Wagner is everywhere in his operas. You just can’t think about them and not think about him; nor would he conceivably have wished you to. »

13 Jan 2005

WAGNER: Die Walküre

This release documents performances of Richard Wagner’s Die Walküre at the Munich National Theater in July of 2002. The cast includes several contemporary singers well known for their Wagnerian performances, as well as a famous conductor who has enjoyed a long and successful career, both in the concert hall and opera house. Die Walküre is an opera that has been particularly well served on records, with several outstanding versions derived both from the studio and live performances. Unfortunately, this new Walküre does not stand up well to that formidable competition. »

13 Jan 2005

VERDI: Aida

Now, who needs another Aida? There are (or there have been) available 65 complete recordings (commercially available pirates included) and I don’t take into account the staggering amounts of non-commercial recording now widely circulating among collectors. Another Aida therefore can only interest buyers interested in specific singers. Happily, this set indeed fills a gap and it is not centered upon il divo himself, as the nice sleeve notes make clear. This set is for the admirers of Julia Varady, though not only for them. The Hungarian soprano has a reputation. As the fourth Mrs. Fischer-Dieskau she was undoubtedly helped in her career in the early seventies by this connection. But I presume this asset soon turned into a liability. Allow me to digress a few moments. »

11 Jan 2005

Le Monde Reviews Lamento

Cela arrive rarement, le souffle coupé dès les premières notes. Une minute entière à retenir sa respiration dans une apnée d’émotion totale pour recevoir la première phrase du Lamento pour contralto, de Johann Christoph Bach, d’après les Lamentations de Jérémie, son ascension douloureuse, ornée de sanglots, puis les deux accords d’une longue plainte instrumentale, avant l’entrée, magique, de la voix de Magdalena Kozena. “Ach, dass ich Wassers g’nug hätte.” “Ah, si ma tête était remplie d’eau, si mes yeux étaient une source de larmes.” L’insouciance a été jusqu’alors votre lot ? Vous, toi, nous tous, pécheurs, allons connaître ce que pèse le lourd fardeau de nos iniquités – et la récompense de cette connaissance : 7 minutes 22 d’une pure splendeur musicale. »

11 Jan 2005

Cosí fan tutte at Arizona Opera

Cosí fan tutte’s story is simple, its music transparent and its theme heartfelt and genuine: It’s “reality opera” in a far deeper sense of “real” than any bare-facts TV show. Mozart’s 1790 opera about the maturation of romantic love requires a no-fuss production that gets at the heart of the story, and a cast that sings well without getting in the way of the characters. It needs exactly what Arizona Opera has given it in the Cosí that opened over the weekend at Orpheum Theatre. »