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And London Burned: in conversation with Raphaela Papadakis

Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Center for Contemporary Opera presents Jane Eyre (World Premiere)

Louis Karchin’s Jane Eyre, a full-length opera in three acts with a libretto by Diane Osen based on Charlotte Bronte’s novel, will receive its world premiere at The Kaye Playhouse (Hunter College) on Thursday, October 20, 7:30pm with a second performance on Saturday, October 22, 8pm. Jane Eyre is Karchin’s second opera, composed in 2014, following his critically acclaimed one-act comic opera Romulus.

A Venetian Double: English Touring Opera

Francesco Cavalli’s La Calisto was the composer’s fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.

Boston Early Music Festival announces the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director

Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Walter Braunfels : Orchestral Songs Vol 1

New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.

Oxford Lieder Festival: in conversation with Julius Drake

In October 2014, the Oxford Lieder Festival - under its imaginative and intrepid founder, Sholto Kynoch - fulfilled an incredibly ambitious goal: to perform Schubert’s entire corpus of songs - more than 600 - and, for three marvellous weeks, to bring Vienna to Oxford. ‘The Schubert Project’ was a magnificent celebration of the life and music of Franz Schubert: at its core lay the first complete performance of Schubert’s songs - including variants and alternative versions - in the UK.



<em>The Nose</em>, Covent Garden
23 Oct 2016

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!” »

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28 Mar 2005

SALAZAR: Vísperas Completas de Nuestra Señora

Sacred music from the Spanish Baroque deserves to be held up next to the finest Italian examples of the same period. Equally celebratory in nature, the music written for use in Catholic Vespers services on this recording is an example of the mixed concertante style developed in Venice. While not as monumental as Claudio Monteverdi’s conglomerate Vespers of 1610, the Vísperas Completas de Nuestra Señora by Juan Garcia de Salazar (1639-1710) contrasts polyphonic and homophonic choruses with plainchant, monody, instrumental pieces, and organ improvisation. »

28 Mar 2005

BACH: St. John's Passion

The explosion of research into the music of J. S. Bach allows for innumerable interpretations of his works. Scholars meticulously study the musical source material, letters and writings from the 17th and 18th centuries, and anything else that could possibly lead to an insight into Bach’s musical practice. Invariably, each interpreter achieves new conclusions and raises new questions forming their own distinctive ideal. In the last decade and a half, the dialogue over Bach’s choral music has been particularly active and fierce with proponents of massive romantic proportions and those who prefer single singers and instrumentalists on a part. »

28 Mar 2005

Krassimira Stoyanova at the Rousse Festival

Her occasional home-coming always turns into a music event in her native Bulgaria. This time Krassimira Stoyanova appeared at the Rousse March Music days in a recital including twenty melodies and songs by opera composers: Gounod, Donizetti, Puccini in the first part and Tchaikovsky and Rahmaninov in the second plus two “encores” by Bulgarian composers Dobri Hristov and Liubomir Pipkov. She performed this same recital at Carnegie Hall on January 18, 2005, accompanied by Yelena Kurdina. »

28 Mar 2005

Chicago's Ring

Ringheads, rejoice! The end of the world is nigh. So, for that matter, are the flying Valkyries, swimming Rhinemaidens, spinning Norns, fearless heroes, empowered heroines and all the other mythic characters that make Richard Wagner’s “Der Ring des Nibelungen” (“The Ring of the Nibelung”) the greatest, most monumental fairy tale ever composed. »

28 Mar 2005

Offenbach's Whittington

Here is a splendid curiosity – a three-act operetta by Offenbach, written as the 1874 Christmas panto blockbuster for the famous Alhambra Theatre in Leicester Square and never subsequently staged in its original form. All credit to the tirelessly exploratory semi-professional University College Opera for its worthwhile revival. »

28 Mar 2005

Mozart's C Minor Mass Reconstructed

“Die spart (Partitur, Anm.) von der hälfte einer Messe, welche noch in der besten hoffnung da liegt”, erwähnt Mozart 1783 in einem Brief an seinen Vater. Bei der Hoffnung sollte es bleiben: Sein rätselhaftes Gelöbnis, die c-Moll-Messe zu vollenden, hat Mozart nicht gehalten. Das ehrgeizige Projekt einer umfangreichen Kantatenmesse im Stile von Bachs Schwesterwerk in h-Moll blieb ein Torso. Nur Kyrie, Gloria, Sanctus und Benedictus hat Mozart abgeschlossen, nicht alles davon ist jedoch in zweifelsfreier Form erhalten. Vom zentralen Credo existieren gar nur zwei Sätze, noch dazu voller offensichtlicher Instrumentationslücken. »

26 Mar 2005

Surprises at Wigmore Hall

Susan Bullock is widely regarded as the finest dramatic soprano to have emerged in the UK for some years. She is an exceptional Wagnerian and many would question why she is not singing Brünnhilde in one of the Rings-in-progress at Covent Garden or English National Opera, particularly since she is already established as an interpreter of the role abroad. »

26 Mar 2005

Leaving the "Audience Clamoring for More"

Handel had his troubles with sopranos as people. There’s a story that he once grew so enraged he tried to throw one of his divas out the window. On the other hand, no composer has written more knowledgeably and lovingly for the soprano voice than Handel did. »

26 Mar 2005

Rape of Lucretia

NO BETTER time than Easter to plead the cause of Benjamin Britten’s chamber opera. Forged in the same white fire of creative energy as Peter Grimes, Lucretia can remain problematic because of the apparent moralising of the framing Chorus. But watching this play of passion in a week of Passions certainly put things into context. »

26 Mar 2005

A Delicate Drama at Merkin Hall

When opera singers reach a certain level of fame and stature, they almost invariably express the desire to present song recitals as well. Often the problem is that they have little training in this specialized art and too much practice in their own stylistic niche. As a result, many highly publicized evenings at Carnegie or Alice Tully turn out to be woeful disappointments, proving only the lack of adaptability of many of our best singers. »

25 Mar 2005

Handel's Sosarme at Theater St. Gallen

Mit noblem Herrschergestus rückt der feine junge Herr im weissen Anzug fürs Schlusstableau die Opernwirklichkeit zurecht. Unvermittelt angeschmachtet von der Liebsten und scheinbar ohne Rücksicht auf den eben ausgefochtenen tragischen Höhepunkt des Familienzwists, von dem hier im Heldenton einer Opera Seria drei Stunden lang die Rede war, darf Fernando alias Sosarme die Totgeglaubten wieder aufrichten und dann, ganz cleverer Familientherapeut, die Sache mit einer zeitgeistigen Aufstellung zu Ende bringen. »

24 Mar 2005

Leontyne Price & Samuel Barber: Historic Performances (1938 - 1953)

Among the leading figures in music in twentieth-century America, the composer Samuel Barber and the soprano Leontyne Price are notable for various reasons, not the least of which is the fact that they worked together at various times. »

24 Mar 2005

Parsifal Gets Poor Reception in Berlin

A controversial new production of Wagner’s “punk” Parsifal, by Bernd Eichinger, film-maker and writer of Downfall, provoked outrage when it was premiered in Berlin last Saturday. Here he defends his production. A lot of critics complained that it was staged too close to the orchestra. But that is not a failure – that is exactly what I wanted to do. In a Wagner opera, you have to understand that there are more than 100 musicians; it is a big orchestra, big music. In order that the singers can really be appreciated you have to bring the action forward, closer to the audience. If you put them too far away in the distance of the stage you hear less. »

24 Mar 2005

Der Rosenkavalier at the Met

The Marschallin in Der Rosenkavalier is supposed to be no older than 32 – sensitive, sensual and emphatically sensible. Richard Strauss told us so. She is seldom played that way. Over the decades, the role has become the specialty of well-upholstered divas of a certain age who stress regal pathos at the expense of erotic allure. It wasn’t like that, however, on Friday at the Met, where Angela Denoke basked in revisionist revelation. »

23 Mar 2005

Orlando Furioso at New York City Opera

Handel’s opera “Orlando” is a seductive broadside against love, and New York City Opera’s new production makes this distaste for romance seem irresistible for a while. When the titular knight goes soft, the magician Zoroastro intervenes to warn him away from the vagaries of passion. Better, he counsels, to stick to such sensible, manly stuff as vengeance, mayhem and murder: Make war, not love. »

23 Mar 2005

Madama Butterfly at Covent Garden

IT’S STRANGE that such a basically fine performance can leave so many question marks, but that is perhaps the peculiarity of Madama Butterfly. Puccini’s shabby little shogun shocker contains some of the composer’s greatest music, yet it is put to such shallow, manipulative ends that anyone who likes their opera to be more than a high-class musical is likely to come away feeling unsatisfied. At least the Royal Opera’s latest revival is musically rewarding, and boasts one of today’s leading interpreters of the title role, but the picture-book production shows little willingness to tackle the problem. »

23 Mar 2005

Tosca at the Met

To this day, many sophisticated music lovers dismiss Puccini as a panderer or even a hack. But his supreme craftsmanship is the best refutation of this position. So dedicated was he to creating just the right effect for “Tosca” that he came before dawn one morning to the Castel Sant’Angelo in Rome and faithfully recorded the actual pitches of all of the church bells that can be heard there throughout the early hours, including those of the Basilica of Saint Peter’s. »

22 Mar 2005

A Symphony for Hans Christian Andersen

The words of Symphonic Fairytales are not by a musician, but by one of the 19th century’s most extraordinary writers: Hans Christian Andersen. The Danish fairy-tale author’s bicentenary falls on 2 April this year and a worldwide project is under way to celebrate him in music. Ten Danish composers have been commissioned to write pieces based on his stories; as part of this, the City of Birmingham Symphony Orchestra (CBSO), Chorus and Youth Chorus has achieved quite a coup with a new work from Per Norgard, Denmark’s musical éminence grise, which they will premiere on Andersen’s birthday at Symphony Hall. »

22 Mar 2005

Handel's Ezio at the London Handel Festival

THE curtain rises on Black-adder-land — epicene monarch, black-clad baddie, hooped ladies and preening hero — and you think, hmm, three hours of trying to turn opera seria into comedy could be a bit wearing. Worst fears aren’t entirely realised, but if you don’t trust Handel to hold an audience with a serious exploration of relationship and motivation, why bother? The London Handel Festival has brought us some notable rarities from among the man’s operas, and this one too has seldom been seen; but if the performance falls short, it’s not because the piece is rubbish. »

22 Mar 2005

Peter Grimes in Salzburg

Salzburg zur Osterzeit steht heuer ganz im Zeichen Benjamin Brittens. Nun ist “Peter Grimes”, die Festspiel oper Anno 2005, auch schon 60 Jahre alt, aber von einer Verankerung im internationalen Repertoire kann, wenn überhaupt, erst in allerjüngster Zeit die Rede sein. Jetzt, da das Stück von der Tragödie des Individuums in der Zeit der Vermassung aktueller denn je scheint, setzen es die meisten großen Häuser auf den Spielplan. Zeit also, bei einem Festival ein mustergültige Produktion zu präsentieren, scheint das Kalkül Simon Rattles gewesen zu sein, der damit den Festspielgedanken so unzeitgemäß wie richtig interpretiert. Zumindest in der Theorie. Man muss vielleicht ein bisschen weiter ausholen, um zu definieren, warum eine Inszenierung, wie sie Trevor Nunn im großen Festspielhaus vorgestellt hat, in diesem Fall ein wenig zu kurz greift. »

22 Mar 2005

Orpheus Chamber Orchestra Performs Pergolesi and Rossi

As a seasonal concert, with a mildly ecumenical touch, the Orpheus Chamber Orchestra played a concert of sacred music in the Medieval Sculpture Hall at the Metropolitan Museum of Art on Sunday evening (with a repeat tonight). The principal offering was Pergolesi’s dramatic, deeply emotional setting of the Stabat Mater. It was preceded by string arrangements of six pieces by Salamone Rossi, a Jewish composer who worked in Mantua, Italy, around the same time as Monteverdi, and wrote Hebrew Psalm and prayer settings in a lively madrigal style. »

22 Mar 2005

Rossini's Il turco in Italia in Hamburg

“Es werde Lichter”, sprach der Libretto-Dichter und ließ die Buffa-Puppen tanzen. Keine Charakter, sondern Typen, irgendwie geboren im ganz normalen Uraufführungswahnsinn italienischer Opernhäuser im frühen 19. Jahrhundert; fest am Faden hängend und ganz nach Bedarf herumgeschoben von ihren Schöpfern. Dieser Poeta in Gioachino Rossinis “Türke in Italien”, der sich und seine Erfindungsnöte vorlaut zum Thema einer komischen Oper macht, ist ein ziemlich einmaliger Fall. Und deshalb immer öfter ein gefundenen Fressen als Alter Ergo für seine Regisseure. »

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. »