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Elsewhere

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

The Grand Tour: A European Journey in Song

The seventeenth Oxford Lieder Festival (12-27 October 2018) will celebrate a rich tapestry of music, words and performance in European song and will showcase the pinnacles of the repertoire while exploring wider cultural influences.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.


OPERA TODAY ARCHIVES »

Reviews

Unsuk Chin [Photo by Priska Ketterer]
19 Apr 2018

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’) »

Recently in Reviews

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13 Oct 2005

HAYDN: Missa Cellensis
MOZART: Credo Messe
PARADISI GLORIA: Psalms
PARADISI GLORIA: Stabat Mater

One can divide these recordings into two groups of two compact discs each. Much of the music of the two Mass settings offered here was composed in the mid 1770s. We have a young Mozart—twenty years old and in the employ of Archbishop Colloredo of Salzburg when he composed this Credo Mass—and the veteran Franz Joseph Haydn, twice Mozart’s age and firmly settled at the Esterhazy court, when he completed the Credo, Sanctus, and Agnus Dei movements of the Missa Cellensis, a work he had begun in 1766 with the Kyrie and Gloria movements. »

13 Oct 2005

Anna Christy in Recital

OMAHA — Having first heard Anna Christy a few years ago in the title role of Lucia di Lammermoor, she clearly had a bright future ahead of her. On Tuesday, this opinion was not only reaffirmed, but it is now manifest that this lovely and elegant soprano is well on her way to becoming one of the great coloraturas of the 21st Century. »

11 Oct 2005

OFFENBACH: Les Fées du Rhin (Die Rheinnixen)

The genre of grand opera is not traditionally associated with Jacques Offenbach’s posthumous reputation. Yet as demonstrated by the performances documented in the present recording and essays in the accompanying notes, a revision of our assessment of Offenbach’s strengths is long overdue. »

10 Oct 2005

HANDEL: Teseo

“Teseo” is one of those “might have been” Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handel’s genius is simply too good a chance to miss. »

08 Oct 2005

MAHLER: Lieder eines fahrenden Gesellen; Fünf Rückert-Lieder

In recent years the few recordings of Mahler’s Lieder with piano accompaniment demonstrate the delicacy of the music in this format and its connections traditional Romantic Lieder. To such fine examples as those by Stephan Genz (on Hyperion) and Thomas E. Bauer (on Ars Musici), Konrad Jarnot is a fine addition. »

06 Oct 2005

ORFF: Carmina Burana

Once hailed by the Nazis as a symbol of Aryan supremacy, Carmina Burana has come to be recognized as a powerful expression of the gluttony and depravity present in a medieval, pagan society. An effective performance of Orff’s musical adventure must allow audiences to envision the “imagines magicae,” or magical images conveyed through the convergence of music and choreography. »

04 Oct 2005

RAVEL: Shéhérezade
DUPARC: Mélodies

Konrad Jarnot is a young baritone who brings a wonderful vitality to the music he has recorded. He also has another Oehms release, a selection of Lieder by Gustav Mahler, which is engaging for the strong sense of line he brings to that repertoire, which is precisely what he brings to this collection of French vocal music. »

04 Oct 2005

PROKOFIEV: Romeo and Juliet
RESPHIGHI: Pini di Roma

The biographies of the two composers whose works are represented on this disc, Sergei Prokofiev and Ottorino Respighi, share many common threads. In addition to moving in similar circles early in their lives (for example, both studied with Rimsky-Korsakov and both were later connected with Diaghilev), they similarly composed in totalitarian regimes at the end of their careers. »

03 Oct 2005

CONRADI: Die schöne und getreue Ariadne

Since its inception in 1980, the biennial Boston Early Music Festival has grown to international stature of the first rank, and while its programming is diverse in scale and repertory, its focus in recent years has been on full-scale productions of baroque opera, including Monteverdi’s L’Orfeo, Rossi’s Orfeo, Cavalli’s Ercole Amante, Lully’s Thésée, and this past summer, Mattheson’s Boris Goudenouw. »

30 Sep 2005

MENDELSSOHN BARTHOLDY: Der Onkel aus Boston

For the most part, the posthumous reputation of Felix Mendelssohn (1809-43) resides on the composer’s instrumental works and of all his vocal music, his two oratorios, Elias and Paulus are familiar to the general public. »

29 Sep 2005

Brigitte Fassbaender: Lieder — Mahler, Berg, Ogermann

Since 1995 the mezzo-soprano Brigitte Fassbaender no longer performs as a singer, but has devoted her recent career to directing. »

29 Sep 2005

FALLA: El amor brujo; El sombrero de tres picos; La vida breve

With this CD, Naxos continues its well deserved reputation for producing recordings at affordable prices, and more often than not, but not limited to, music that is rarely performed, or with a limited audience. »

28 Sep 2005

The Very Best of Thomas Hampson

The Very Best of Thomas Hampson is an excellent selection on CD of Hampson’s recordings from various points in his career. The American baritone is one of the international stars of classical music for both his roles on the opera stage and his work as a recitalist. »

28 Sep 2005

SCHNEITZHOEFFER: La Sylphide

This is one of the most enchanting and lovely ballet performances that I have ever seen, and believe me I have seen quite a few! First performed in Paris on May 12, 1832, La Sylphide marks the advent of Romanticism in ballet. »

28 Sep 2005

BACH: Cantatas, Vol. 8

On Christmas 1999, the Monteverdi Choir and English Baroque Soloists with conductor Sir John Eliot Gardiner set out on one of the most unusual musical tours ever undertaken. »

28 Sep 2005

BACH: Cantatas, Vol. 6

J. S. Bach’s large output of church cantatas and their prominence in his duties as Kantor at the Thomaskirche in Leipzig have made them central to our modern understanding of Bach. »

27 Sep 2005

MAHLER: Symphony No. 5

Gustav Mahler’s Fifth Symphony is a tour de force that can tax a conductor and orchestra in live performances. While it often takes several sessions in the studio for performers to match the required intensity of playing with exuberance that is also part of the work, some live performances convey that fine balance immediately. »

26 Sep 2005

On Wings of Jewish Songs — Music from the New Jewish School

Yiddish is a language based on medieval German that developed separately from modern German. It spread throughout Eastern Europe, where it acquired words from Hebrew, as well as Russian, Polish, and other Slavic languages. »

26 Sep 2005

SCHUMANN: Liederkreis, op. 24; Dichterliebe, op. 48

In addition to some notable, recent recordings of selected Lieder by Robert Schumann (1810-56), two comprehensive editions of the composer’s works in this genre are underway, one by Hyperion, which is almost complete and another that is just starting on the Naxos label. Performed by Thomas E. Bauer, baritone and his wife, the pianist Uta Hielscher, the first volume is as promising as it is ambitious. »

26 Sep 2005

Arvo Pärt: A Tribute

Paul Hillier has written the book on Arvo Pärt, quite literally. He has spent significant time with the Estonian composer interviewing him, working with him, and studying his music. He has not only authored the only text researching Pärt's music and background, but Hillier also seems to one of the first to perform and record his music, thereby exposing it to the general public. »

26 Sep 2005

LIDERMAN: The Song of Songs

Now this is one beautiful piece of music, a setting of the text of the “Song of Songs,” taken from the Hebrew Bible by the composer Jorge Liderman. Liderman is Argentinian by birth, now on the composition faculty of the Department of Music at the University of California at Berkeley. His work shows a distinct ability at the craft of composition: this is a very attractively put together work. »

25 Sep 2005

BENNETT: The Mines of Sulphur

Glimmerglass Opera has been doing innovative and often remarkable work for a number of years. Thankfully, many of their productions have been shared with the New York City Opera and, thus, with a large opera-going public. »

25 Sep 2005

GLINKA: Ruslan and Lyudmila

Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer. »

24 Sep 2005

ROSSINI: L’Italiana in Algieri

This newly re-mastered recording was originally released in 1954 by Columbia (Qcx 10111/12), later reprinted by EMI (C163-00981/2), and it includes, besides Giulieta Simionato in the title role, three other members of the original 1953 production at La Scala: tenor Cesare Valleti, and bass Mario Petri in their respective roles of Lindoro and Mustafà and Conductor Carlo Maria Giulini. »

24 Sep 2005

SHOSTAKOVICH: Symphony No. 13 ("Babi Yar")

Audiences accustomed to hearing the grandeur of Shostakovich’s early symphonies may initially be disillusioned when listening to his Thirteenth Symphony for the first time. »

22 Sep 2005

TALLIS: Spem in alium – Missa Salve intemerata

With a career spanning the monarchies of Henry VIII, Edward VI, Mary Tudor, and Elizabeth I, Thomas Tallis’s musical pragmatism became both a necessary and distinctive trait. »

22 Sep 2005

DONIZETTI: Francesca di Foix

Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one (Venice 1818), a genre that many twentieth-century historians considered respectable primarily because of contributions made to it by Gioachino Rossini, the Donizetti’s other single-act works generally have been brushed aside as less important than the larger operas. »

22 Sep 2005

STOCKMANN: Musica Nuptialis

This recording of Musica Nuptialis celebrates occasional music and does so in a fittingly occasional manner. »

22 Sep 2005

Lado Ataneli — Opera Arias

Baritone Lado Ataneli’s self-titled debut CD contains an impressive selection of arias intended to showcase the singer’s style, range, and versatility. »

22 Sep 2005

Penny Merriments: Street Songs of 17th Century England

In 1728 John Gay’s Beggar’s Opera was produced in London as a sardonic response to the ongoing craze for Italian opera seria. »

22 Sep 2005

MAHLER: Symphony no. 2 “Resurrection”

Among recent recordings of music by Gustav Mahler, the 2004 release of the composer’s Second Symphony conducted by Claudio Abbado stands out as an intense and highly charged performance. »

22 Sep 2005

SCHOENBERG: Accentus | Ensemble intercontemporain

Schoenberg, born in Vienna in 1874, is remembered as a composer and a music theorist. He held strong attitudes toward the craft of composition and its pedagogy, which have been received as the beginnings of a theory of music, though Schoenberg denied ever attempting to create a systematic theory. »

21 Sep 2005

WEILL: The Firebrand of Florence

When I was a young child, my mother purchased a blouse and brought it home to the acclaim of my aunts and older sisters. "Oh, that's smart!" they pronounced, cooing and stepping back to admire the thing. Not a little bit jealous, I was taken aback. »

19 Sep 2005

All My Heart — Deborah Voigt sings American Songs

“I send my heart up to thee, all my heart in this, my singing” Robert Browning. The title of this CD is taken from the text of one of Amy Beach’s Three Browning Songs, which close the program. Given Deborah Voigt’s ability to sing this program with completely natural expression and crystal clear diction while maintaining a consistently high standard of vocal production and musicianship, it is easy to believe that in her singing she shares with us something of what is most dear to her own heart. Fortunately for us, in doing this she is also giving us a fine recording of American art songs, some of which will be quite familiar to many listeners, others of which will be wonderful new discoveries. »