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Elsewhere

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

GLUCK: Alceste

Alceste. Tragedia in three acts (Italian version). Alceste. Tragédie opéra in three acts (French version).

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.


OPERA TODAY ARCHIVES »

Reviews

Jonas Kaufmann and Diana Damrau perform Wolf’s Italienisches Liederbuch as part of the Barbican Presents 2017-18 season in the Barbican Hall on 16th February 2018.
18 Feb 2018

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.  »

Recently in Reviews

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26 Jun 2005

Chief Joseph at Berliner Staatsoper Unter den Linden

Das schönste Teil steht als Reklame vor der Tür: einer von Jimmy Durhams Büffeln, gehäutet und skelettiert. Ansonsten hat der indianische Künstler und Bühnenbildner eine Mischung aus Showbühne mit Aussichtspodest und Bahnhofshalle für Hans Zenders neue Chief Joseph-Oper gebaut: Vorn links auf dem teilweise überdeckten Orchestergraben ein Riesenmüllcontainer, aus dem später der kleine Joseph oder auch Hin-mah-too-yah-lat-kekht, was soviel heißt wie “Der Donner, der über die Berge rollt”, kriecht und den Vater befragt, wie das denn sei mit den Weißen, ob sie alle Lügner sind, oder ob man einigen von ihnen wenigstens trauen kann, bevor er selbst das Kommando übernimmt, übernehmen muss. In rotbraunem Siedleranzug, nicht in umbrafarbener Federkluft, geht er dann sinnend durch die Szene. »

24 Jun 2005

LEHÁR: Zigeunerliebe

One of my oldest memorabilia is a programme of a performance of Zigeunerliebe by my father’s operetta company just after the war. It was one of the many amateur companies in Flanders though the title roles were sung by good singers who earned extra money by combining a few companies. I was too young to assist at this performance but a few years later I would be a regular spectator. The moment I could read I was put into service rehearsing my father’s lines. Every time the company put on a new piece I eagerly read the libretto. Most people nowadays think that an operetta is something like a Carmen with a few dialogues but that’s definitely not true. A Lehár operetta always had a lot of spoken dialogue and often had a 50% spoken 50% sung lines balance. Many an operetta lasted 3 hours without including pauses. »

23 Jun 2005

KRENEK: Three One Act Operas

Ernst Krenek is remembered primarily for one work, his jazz opera Jonny spielt auf, which irritated the cultural conservatives in Germany and Austria in the years between the wars and helped ensure his exile to America during the Nazi era. If an opera strewn with jazzy tunes and a romantic black hero wasn’t enough to tick off the right wing, he turned to serialism for his magnum opus, the anti-Nazi, pro-Austrian Karl V (Charles V, whom you’ll remember from Verdi’s Don Carlo). »

23 Jun 2005

CARISSIMI: Oratorios

Two recent CDs of Carissimi oratorios provide the listener the opportunity to compare very different “takes” on the composer’s remarkable works, which exemplify the sophisticated and exclusive style cultivated by the cardinalate nobility in mid-seventeenth-century Rome. Carissimi’s oratorios survive in manuscript only, and with relatively sparse indications concerning instrumentation; it has long been a challenge for contemporary performers to balance the need for dramatic clarity with the desirability of sonic variety, and the two groups featured on these CDs take different approaches to that challenge, each with fruitful results. »

22 Jun 2005

La Bohème at Covent Garden

This production of Puccini’s classic, originally directed by John Copley, began life in 1974 and is now the oldest in the Royal Opera’s repertory. It’s still serviceable in its old-fashioned way, at least when lit with sufficient discretion to hide its increasing shabbiness. »

21 Jun 2005

COUPERIN: Les Concerts Royaux

If you’ve recently browsed the shelves in a bookstore or Blockbuster, you would have to be oblivious not to notice titles such as The DaVinci Code, the Romanov Prophecy, or films like National Treasure and Kingdom of Heaven. Responses to these titles suggest an increased interest in historical topics and journeys that provoke us to unravel clues that, in the end, will reveal an ultimate truth. Works that exude knowledge and mystery have always been popular in music, because it is by the dissemination of clues and their eventual interpretation that lead to the re-creation of a musical moment in history. One might even call it one of the earliest forms of a “treasure hunt.” In this high quality CD, the Concert des Nations directed by Jordi Savall, has successfully disseminated the few details left by Couperin and re-created what are perhaps the most important works of the French royal court: the Concert Royaux. Having already recorded Couperin’s Pièces de Voile, Les Nations, and Les Apothéoses, the Concert Royaux would comprise the second category of chamber works written by Couperin for the Court of King Louis XIV. To gain a better understanding of the general purpose of these concerts, you might think of them as relative to Handel’s Music for the Royal Fireworks, but only in their sense of purpose. Their stylistic elements couldn’t be more diverse. »

20 Jun 2005

Britten's Gloriana in St. Louis

ST. LOUIS, June 19 – In more than 50 years on the British throne Queen Elizabeth II has shown scant interest in opera. So it is paradoxical that one of the major events of her coronation ceremonies was the 1953 premiere by the Royal Opera at Covent Garden of Benjamin Britten’s “Gloriana,” an elaborate three-act work about the first Queen Elizabeth, with a libretto by William Plomer based on Lytton Strachey’s book “Elizabeth and Essex.” »

19 Jun 2005

Schade and Hvorostovsky in Vienna

Die Zugabe war klug gewählt: “Wien, Wien nur du allein” sang der deutsch-kanadische Tenor Michael Schade zum Abschluss seines Liederabends im Konzerthaus. Bei so viel Zuneigung war ihm frenetischer Beifall sicher – und mancher Lacher für die drollige Aussprache. Den Applaus hatte er sich verdient. “Of Ladies and Love” war das Motto des Konzerts mit Liedern von Schubert, Beethoven, Liszt, Faure, Ravel und Strauss. Besonders mit leidenschaftlichen, ungestümen Liedern überzeugte er, etwa mit Liszts “Tre sonetti de Petrarca” oder Beethovens “Adelaide”. Hier kam Schades volle, schön timbrierte Stimme hervorragend zur Geltung, und auch im Ausdruck schienen ihm dramatische Liebeserfahrungen näher zu liegen als innig-verzärtelnde. »

19 Jun 2005

Boris Goudenow and the Boston Early Music Festival

BOSTON, June 17 – For fans and performers of early music, this city is paradise for a week every other June, when the Boston Early Music Festival sets up its combination concert marathon and trade show. The festival offers performances every night between 5 and midnight. The centerpiece is always a lavishly produced Baroque opera – this year’s is Johann Mattheson’s long-lost “Boris Goudenow” – but concerts by imported ensembles and soloists, and by the festival’s period instrument orchestra, are also a strong draw. »

18 Jun 2005

A Scottish Lady Mass: Sacred Music from Medieval St. Andrews

Despite theoretical beginnings several centuries earlier, we have come to think of early polyphony as having its first “golden age” in twelfth- and thirteenth-century Paris, an environment teeming with things new: the University of Paris, the Cathedral of Notre Dame, and the large-scale organa by Leoninus and Perotinus. If our attention is drawn to Paris, it is with good reason. But significantly, the musically innovative style of the Parisians had a geographic dissemination that took it to places like St. Andrews in Scotland, home to a cathedral roughly contemporary with Notre Dame and, to continue the symmetry further, in the fifteenth century, also home to Scotland’s oldest university. A run of Norman bishops in St. Andrews secured a degree of continentalism in the local ecclesiastical culture, and one of the most important manifestations of this is the Scottish manuscript of Parisian repertory that we today know as “W1.” W1 is a copy, in all likelihood one made at St. Andrews, of the Parisian Magnus liber organi — the “great book of organum” by Leoninus, as well as other works, some of them local. And it is from this local Scottish repertory contained within W1 that Red Byrd has fashioned their “Scottish Lady Mass.” »

16 Jun 2005

SCHÜTZ: Historia der Auferstehung Jesu Christi

In the seventeenth century Germany did not move quickly to embrace the new oratorio genre, despite its mainstream cultivation in Italy. Arguably, in fact, the Italianism of the genre may have made it suspect in some Protestant circles, and contributed to its slow cultivation. However, German interest in musical settings of sacred narrative is clear, given the examples of historiae composed by Heinrich Schütz and his contemporaries. These historiae present Biblical stories without modern poetic interpolations, and Schütz’s “Resurrection History” of 1623 is one of the most compelling. Music historians have rightly seen in the historia an antecedent of the German oratorio, but in its own right — and especially in Schütz’s compositions — it is a rich form, liturgically functional and compositionally sophisticated, that need not be harnessed to the more prominent oratorio to warrant our attention. With this recent recording of the “Resurrection History,” Manfred Cordes and Weser-Renaissance Bremen add a fifth installment to their series of Schütz recordings for Classic Production Osnabrück and with it a welcome new performance of this significant work. »

16 Jun 2005

Rossini's La gazzeta at the Liceu

El dramaturgo y premio Nobel de Literatura italiano Dario Fo confesó ayer que ha «saqueado» a Rossini y la tradición de la ‘comedia dell’arte’ para hacer la escenografía de la ópera ‘La gazzeta’ del compositor italiano, que el Liceo barcelonés estrenará el próximo día 20. ‘La gazzeta’ narra la historia de don Pomponio, que quiere casar a su hija con el mejor partido. Para ello, inserta un anuncio en el diario en el que hace un elogio ditirámbico. Aunque la obra estaba llamada a tener éxito, la escasa promoción propició, según Fo, que no recibiera el interés del público cuando se estrenó en Nápoles en 1816. »

15 Jun 2005

Immortal Fire: Music for Female Saints

The recording “Immortal Fire” presents a varied anthology of music for female saints, excellently sung by the Girl Choristers and Lay Clerks of Winchester Cathedral under the direction of Sarah Baldock. Much of the music is Marian, with additional pieces in honor of St. Cecilia, St. Margaret of Scotland, and St. Ursula. Some of the works are highly familiar — Britten’s youthful “A Hymn to the Virgin,” and his popular setting of Auden’s “A Hymn to St. Cecilia” for instance — and the performances seem familiar, as well. As the pieces are canonical within the cathedral repertory, so too are the interpretations, sung with polish and high accomplishment, but few surprises. However, other works are new or less familiar. For example, Judith Bingham’s “Margaret, Forsaken,” a work commemorating Margaret of Scotland, was commissioned for this recording. The composer’s imaginative use of patterned repetition and ornamental organ effects are evocative of a North Sea moodiness, and the choir responds with an impressive reading that is both intense and dramatic. Herbert Howells — never far from the cathedral choir folder—is represented by two works, a “Hymn for St. Cecilia” and a “Salve Regina.” The former is an expansive hymn tune with a wonderfully uplifting descant to its final verse. The “Salve” is an early work whose chordal gestures are reminiscent of Vaughan Williams, but in the main it is a work showing the developing harmonic fingerprints of Howells’ musical signature, with sweet dissonant propensities and chromatic inflection. Howells graces the concluding acclamations with a memorable treble solo — the embodiment of the text’s “dulcis” — gracefully sung by Tempe Nell. »

15 Jun 2005

Il Barbiere di “Siviglia” in Antwerp

Very attentive readers will have noticed I put “Siviglia” in quotation marks as it refers in this production to the name of an Italian hairdresser’s salon and not to the Spanish city. Director Joosten who always keeps an attentive eye on surtitles and has them changed when the sung lines are contrary to the happenings on the scene nevertheless let a reference to the Spanish Prado slip in. »