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Elsewhere

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Interview with Star of Florencia en el Amazonas, Elizabeth Caballero

Lyric soprano Elizabeth Caballero’s signature role is Violetta in La traviata, which she portrays with a compelling interpretation, focused sound, and elegant coloratura that floats through the opera house as naturally as waves on the ocean.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.


OPERA TODAY ARCHIVES »

Reviews

Michael Druiett as Wotan, Jo Pohlheim as Alberich and Wolfgang Ablinger-Sperrhacke as Loge
29 Jun 2016

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.  »

Recently in Reviews

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22 Mar 2005

Götterdämmerung at Chicago Lyric

Lyric Opera has been a tease this season. It’s now offering a preview of the delights that will be available March 28, when the company revisits one of opera’s most daunting challenges, Wagner’s cycle of four interrelated works, “The Ring of the Nibelung,” in three cycles through mid-April. »

22 Mar 2005

BACH: Weinen, Klagen — Cantatas BWV 12, 38 & 75

One of the greatest challenges in compiling a recording of J. S. Bach’s cantatas must be choosing which cantatas to group together. For his Harmonia Mundi release, Weinen, Klagen…, Philippe Herreweghe selects three cantatas that represent the human experience of “desolation and comfort.” These two themes are so central to Lutheran theology they could in fact be found in any number of Bach’s cantatas. Nevertheless, the three cantatas on this recording reflect the variety across Bach’s output. “Weinen, Klagen, Sorgen, Zagen” BWV 12, comes from Bach’s period in Weimar, the double cantata, “Die Elend sollen essen” BWV 75, was the first work Bach presented at his new post in Leipzig, and “Aus tiefer Not schrei ich zu dir” BWV 38 is based strictly on the chorale tune throughout the entire work. Despite their differences, all of these works make the theological transition from earthly desolation to eternal comfort. »

21 Mar 2005

Les Ours du Scorff at Mino and Other Children Festivals

Sous le nom des Ours du Scorff, un quintette breton spécialisé dans les airs folkloriques destinés aux enfants de 4 ans et plus. En douze ans d’existence, cette formation est devenue une référence de la chanson jeune public, régulièrement invitée par les festivals spécialisés (Mino et, samedi 19 mars, celui de Magny-les-Hameaux, dans les Yvelines). L’explication de cette réussite tient en un mot : tradition. Non comme forme de réaction, mais comme désir de transmission. »

21 Mar 2005

Bach Restored in Japan

TOKYO (AFP) – Une cantate profane longtemps perdue de Jean-Sébastien Bach a été ressuscitée ce week-end à Tokyo, en première mondiale, sous l’inspiration et la direction du chef américain Joshua Rifkin. »

21 Mar 2005

Dmitri Hvorostovsky in Recital

Dmitri Hvorostovsky is one of the finest singers we have, whether in opera, in song, or in oratorio. (Instead of oratorio, I should say Russian liturgical music – that is one of his real strengths.) We even hear Mr. Hvorostovsky in Italian popular songs. They’re not especially Italian, but they’re enjoyable. »

21 Mar 2005

Kafka's Trial Premieres in Copenhagen

The Danish composer Poul Ruders is one of contemporary music’s free agents—a lover of sweet melodies with a yen for dark chords, a comedian with a flair for apocalypse. His previous opera, “The Handmaid’s Tale,” made sonic thunder out of Margaret Atwood’s novel of a dystopian America ruled by Christian fundamentalists. His major orchestral pieces—“Thus Saw Saint John,” the “Solar Trilogy,” a First Symphony subtitled “Rejoicing from the Heavens, Grieving Unto Death”—unfold hypnotically wayward narratives that reel from antic joy to frozen despair. (There are excellent recordings on the Bridge and Da Capo labels.) Ruders has a special knack for reinventing familiar tonal harmonies and styles; he uses them sometimes to mourn lost worlds, sometimes to suggest otherworldly innocence, sometimes to convey the banality of evil. All these devices are hurled at the audience in his latest work, “Kafka’s Trial,” which had its première on March 12th at the Royal Danish Theatre. »

21 Mar 2005

Maria Cebotari sings Mozart, Verdi, Puccini, Strauß and Gounod

So often we get wrapped up in today’s world of great performers that we forget the performers of the past who, directly or indirectly, influenced these performers and shaped the characters they play. Not one singer today can boast working side by side with Richard Strauss or living in Puccini’s heyday, but Maria Cebotari (1910-1949) could. Thanks to a brilliant re-mastered recording by Hänssler Classic, we are now able to take part in signature performances of a woman who is known as the “predecessor” to Maria Callas. »

21 Mar 2005

The Irreplaceable Beverly Sills

OF all the times Beverly Sills was host of the “Tonight” show, her favorite was in 1977, when her guests were three of her closest confidantes: the comedian Carol Burnett, the perky singer and television host Dinah Shore and the pop chanteuse Eydie Gorme. The women got into a spat over who was whose best friend, then kidded the wholesome Ms. Shore about her current beau, the heartthrob actor Burt Reynolds. »

20 Mar 2005

Dvorák's Requiem in Munich

Schön ist, dass sich das Werk Einordnungen entzieht. Monumentalen Aufgipfelungen wie im “Tuba mirum” steht ein opernhafter Gestus gegenüber, volkstümliche Ausgelassenheit (“Quam olim Abrahae”) kontrastiert zu einem charakteristischen, herbstlich verhangenen Tonfall. Und verklammert wird alles durch ein immer wiederkehrendes, kurzes Motiv. Eine Umspielung des Tones “F”, Seufzer und sehnsuchtsvolle Gebärde zugleich. »

20 Mar 2005

Giordano's Andrea Chenier in Glasgow

IN this splendid concert version of Giordano’s most widely performed opera, Sir Richard Armstrong, the orchestra and chorus of Scottish Opera and an outstanding team of soloists provided some of the best moments of operatic verismo I have heard in an age. »

20 Mar 2005

Madama Butterfly at New York City Opera

The central image in Mark Lamos’s production of Puccini’s “Madama Butterfly” is a traditional Japanese house, magnified to the size of the New York City Opera stage. With its sliding doors, clean lines and open spaces, this set, designed by Michael Yeargan, is the very picture of clarity. And for Butterfly, everything within it – her life with Pinkerton, then the memory of that life and the promise of its resumption – is entirely clear. It’s the more complicated world outside that has turned murky, and by avoiding the clutter that often accrues to a “Butterfly” staging, Mr. Lamos has emphasized that tragic delusion. »

19 Mar 2005

Parsifal at La Fenice

Une tristesse flottait sur Venise en ce jour de la première de Parsifal à La Fenice, nouvelle production du chef-d’œuvre wagnérien depuis celle de Pier Luigi Pizzi en 1983. Temps instable au-dehors, vent de la révolte à l’intérieur : le syndicat autonome Libersind et les personnels du théâtre appelaient à la grève générale, le mardi 15 mars, pour protester contre leurs conditions de travail. »

17 Mar 2005

Faust at Opéra de Lille

Dans le Faust à l’affiche de l’Opéra de Lille, le véritable diable, c’est le metteur en scène écossais David McVicar. Grâce à son habileté méphistophélique, sa production peut plaire à tout le monde : à ceux qui rêvent de voir l’histoire racontée comme au bon vieux temps, sans relecture conceptuelle, et à ceux qui pensent qu’un tel morceau de patrimoine a besoin du second degré pour ne pas basculer dans le kitsch. Car dès le début de sa mise en scène, l’ironie règne en maître, même si l’on n’en prend conscience qu’à mesure que son bel univers se dérègle. Une loge de l’Opéra de Paris fait face à une tribune d’orgue d’église gothique : nous sommes bel et bien au théâtre, et si Méphisto a effectivement «la plume au chapeau et l’épée au côté», il les réajuste devant un miroir en pied avant de jouer ses tours. Des sortilèges qu’il extrait d’une malle à accessoires, tandis que Faust change d’aspect dans sa loge, face à une coiffeuse éclairée par des ampoules. »

17 Mar 2005

Martin's Golgotha in Vienna

Zuerst viele Jahre lang Schweigen. Dann einige Aufführungen hintereinander: Frank Martins Schicksal ist symptomatisch für die Repertoire-Restriktionen in Wien. Immer dieselben Dinge verkaufen sich. Bei einem Werk wie Martins Passions-Oratorium “Golgotha” verlassen Abonnenten den Goldenen Musikvereinssaal bei erster Satzpausen-Gelegenheit. Die Bereitschaft, sich zur gegebenen Zeit mit anderem als den Bach-Passionen auseinander zu setzen, ist enden wollend. »

17 Mar 2005

Les Travailleurs De La Mer: Ancient songs from a small island

Cast off the shores of Normandy, the tiny isle of Guernsey lies isolated between the two European powers of England and France. Guernsey, however, has remained independent since 1204, and its government, the Bailiwick of Guernsey, comprises the inhabited islands of Guernsey, Alderney, Sark, Herm, Jethou, Brecqhou and Lihou. Rich in an abundant culture and history, Guernsey is well-known for its sea ports, mystic pagan rituals, potent cider, and poetry. »

16 Mar 2005

Per Questa Bella Mano at the Barbican

You don’t expect absurdity in a concert of Mozart arias and instrumental music, but in bass-baritone Thomas Quasthoff’s concert with the period-instrument Freiburg Baroque Orchestra, the highlight was a work of Pythonesque weirdness. »

16 Mar 2005

On Tour with William Christie

HOW refreshing, you think, as Les Arts Florissants bounds on stage, to see an early-music combo whose contracts appear to contain no clauses forbidding visits to hairdresser, shoe-shop and dressing-table, no injunctions to wear nothing but sacking and zit cream. How delightful, how French. With William Christie’s band, as Emcee in Cabaret might say, “Even ze orgestra is beaudiful.” »

15 Mar 2005

Carmen with a South African Twist

British director Mark Dornford-May’s daring transposition of Bizet’s opera to a South African township has landed him a major film award – and a new wife. He talks to Jasper Rees »

15 Mar 2005

Countertenors Victorious in Copenhagen

Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere. »

13 Mar 2005

Bernstein's On the Town at ENO

IT IS easy to sniff at English National Opera’s decision to stage Leonard Bernstein’s first, unashamedly Broadway musical. Unlike some of his later work it has no “operatic” pretensions. But the Broadway musical was a continuation of opera by other means, and Bernstein maintained to the end of his life that, if opera had a future (which he doubted), it would be intimately tied up with the Broadway idiom that he helped to create. »