Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Jac van Steen in Conversation

Last year’s Strauss anniversary year — 150 years since his birth — offered, at least in the United Kingdom, a typical number of opportunities and frustrations.

Jonathan Dove’s Flight, Opera Holland Park

On 6 June, Jonathan Dove’s Flight touches down in Kensington, west London. Opera Holland Park is to stage the first London production of Dove’s operatic presentation of the real-life story of Mehran Karimi Nasseri, the Iranian exile who, lacking residency rights or refugee status, was forced to live in the departure lounge of Terminal One at Charles de Gaulle Airport for 18 years.

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Kathleen Ferrier Awards, Wigmore Hall

Kathleen Ferrier may have been one of the world’s finest contraltos but this year’s Kathleen Ferrier Awards Final, held at the Wigmore Hall, was all about lyric sopranos.


OPERA TODAY ARCHIVES »

Reviews

Michael Fabiano as Poliuto [Photo by Tristram Kenton]
22 May 2015

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.  »

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  |  88  |  89  |  90 
10 Jan 2005

MOZART: Le Nozze di Figaro

Recorded in Tokyo on October 23, 1963, this live recording of Nozze di Figaro boasts fine sound, a top cast, and the leadership of a conductor of great skill and experience. The label, Ponto, has joined the ranks of such other companies as Opera D’oro and Gala in making available broadcast and in-house recordings at affordable prices. Sometimes these releases are not even worth the modest price asked for; this one may well have more to offer than higher-priced studio sets. After a slightly hesitant first few moments, the sound quality settles down and becomes admirably strong and well defined. There is relatively little stage noise, the voices have a natural presence without being too forwardly placed, and Böhm’s orchestral control can be relished. His may be an old-fashioned reading, but it never lags or lacks for humor or beauty. The audience can be heard laughing from time to time at the stage antics; applause only interferes with the musical pleasures at the end of Non piu andrai, when unrestrained clapping covers a bit of Böhm’s ironically happy martial send-off. »

10 Jan 2005

WAGNER: Tristan und Isolde

Elsewhere on Opera Today readers can find a recent review of a live recording of Mozart’s Le Nozze di Figaro from the Ponto label, a company that has joined the ranks of Opera D’oro and Gala in offering, at budget price, live recordings of various provenance. At their best, as with that Nozze, these recordings offer in acceptable sound (sometimes better) performances of such quality they rival their more expensive competitors. At less than the best, however, even the budget price becomes exorbitant. This Tristan und Isolde, recorded on January 25, 1967, unfortunately belongs to the latter category. Unless one has a strong personal reason for wanting a keepsake of this company or the artists involved, the recording is unlikely to please most listeners. The primary reason is the sound. While not unlistenable, the recording is clearly an “in-house” affair, and probably from an audience member, as some of the coughing is more up-front than the singing. Worse, during the climax, some audience members are whispering as Isolde enters the Leibestod. One would love for a Jon Vickers to have been present to yell out, “Stop your damn whispering!” »

08 Jan 2005

Verlaine and Rimbaud in Boston

'Verlaine and Rimbaud' has the poetry but not the passion By Richard Dyer, Globe Staff | January 8, 2005 Intermezzo: The New England Chamber Opera Series adventurously alternates standard 20th-century chamber operas with new works. The company opened its third... »

07 Jan 2005

BOLCOM: Songs of Innocence and of Experience

William Bolcom is arguably the preeminent American opera composer of today. His third commission for Lyric Opera of Chicago, A Wedding, recently opened to mostly positive reviews. His previous work in the form, A View from the Bridge, had a successful run at the Metropolitan Opera following its premiere in Chicago. »

05 Jan 2005

Turandot at the Met

Turandot, Metropolitan Opera, New York By Martin Bernheimer Published: January 5 2005 02:00 | Last updated: January 5 2005 02:00 Turandot remains a prime tourist attraction at the Met, lock, stock and chinoiserie. Even after 17 years, gasping crowds muster... »

04 Jan 2005

The Cambridge Companion to Rossini

The title of this book, "The Cambridge Companion to Rossini" probably means different things to different people. »

04 Jan 2005

VERDI: Il Trovatore

Il Trovatore Giuseppe Verdi, music and Salvatore Cammarano and Leone Emanuele Bardare, libretto TDK DVUS-CLOPIT Raina Kabaivanska (Leonora) Fiorenza Cossotto (Azucena) Plácido Domingo (Manrico) Piero Cappuccilli (Conte di Luna) José van Dam (Ferrando) Maria Venuti (Inez) Heinz Zednik (Ruiz) Karl... »

04 Jan 2005

BACH: Matthäus-Passion

On an accompanying CD and in the liner notes, interviewer Klaus J. Schönmetzler asks conductor Enoch zu Guttenberg, “Why another St. Matthew Passion?” This is a fair question considering the glut of recordings ranging from the overtly romantic to the idealized “authentic” (and mostly fast) Baroque editions. To his credit, Guttenberg responds to this question by acknowledging an aversion to interpreting Bach overly Romantically while desiring a Baroque sensibility. As a theologian, zu Guttenberg understands an undeniable conviction in Bach’s theology, particularly in the chorales, which he acknowledges can lead to a more Romantic interpretation. Zu Guttenberg’s attempt to capture this devotion coupled with the reality of twenty-first century instruments and performers, produces a St. Matthew stuck in a mediocre middle ground between a Baroque “ideal” and a Romantic interpretation. »

02 Jan 2005

Trois Valses at Théâtre Royal de Liège

Wow ! Les Trois Valses comme il faut in Liège Laurence Janot (Fanny Grandpré) and Jean-Baptiste Marcenac (Octave de Chalencey) For the year's end the Walloon Opera always offers some lighter fare. A few years ago we saw a very... »

02 Jan 2005

Britten's A Midsummer Night's Dream at De Munt, Brussels

© Johan Jacobs De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an... »

31 Dec 2004

La Cenerentola a Torino

Una piccola ma scelta rappresentanza di questo esimio consesso ha assistito ieri sera alla terzultima rappresentazione de La Cenerentola al Regio di Torino. In una sala strapiena di un pubblico festoso, reattivo e soprattutto devastato dalla bronchite (propongo per il... »

30 Dec 2004

Lamento with Magdalena Ko

The imposing figure of Johann Sebastian Bach has loomed large for Magdalena Koená throughout her career. It was her first disc of Bach arias on Deutsche Grammophon’s Archiv label that brought the golden-voiced mezzo to the attention of the music world as early as 1997. Word then quickly went round that Magdalena was the perfect choice for Bach recordings. ”This disc that started my international career also was my introduction to the great Baroque conductors, including the wonderful scholar and musician Reinhard Goebel, with whom I’ve worked on my new disc, Lamento.” Although the title may suggest wailing and gnashing of teeth, this is a sublime and eclectic mixture of music by J. S. Bach, his relations and contemporaries. ”There’s a very optimistic feeling to this CD,” says Koená. ”Although all these pieces are about how horrible it is on this earth, they are really celebrating how great it will be afterwards. There’s a message of hope throughout.” »

30 Dec 2004

Gramophone Reviews Le Comte Ory

Colour, wit and life abound with a star turn from the Rossini tenor of the moment Comte Ory Le Comte Ory is the first great French-language comic opera. A late work (Paris, 1828), sensuous, witty and exquisitely crafted, it has... »

30 Dec 2004

Bullfrog Films' Don Giovanni: Leporello’s Revenge

Don Giovanni: Leporello's Revenge Mozart's opera presented from the point of view of Don Giovanni's servant, Leporello. 55 minutes Color / Stereo Copyright Date: 2000 ISBN: 1-56029-885-5 Mozart's Don Giovanni is arguably one of his most complex, politically controversial, and... »

29 Dec 2004

Moskva, Cheryomushki at Lyon

Moskva, Cheryomushki, Opéra de Lyon, France By Francis Carlin Published: December 29 2004 02:00 | Last updated: December 29 2004 02:00 Wanted: a warm-up guy for chronically frigid audience. The first-nighters sat on their hands throughout Shostakovitch's easy-listening operetta (1959),... »

29 Dec 2004

Le Monde Reviews Verdi's Falstaff from Andante

Deux "Falstaff", à vingt ans d'écart LE MONDE | 27.12.04 | 14h05 Les amateurs d'opéra ont, généralement, un fort penchant pour l'écoute comparée des interprétations. L'éditeur Andante les comblera. Dans un somptueux livre-CD (224 pages avec notice et livret en... »

29 Dec 2004

Acis and Galatea at Teatro Marrucino di Chieti

Haendel in salsa mozartiana Acis and Galatea Pastorale in 2 atti di Georg Friedrich Haendel. (orchestrazione W. A. Mozart, K566) libretto di John Gay dalle Metamorfosi di Ovidio edizione Edizioni Barenreiter, Kassel (in Italia casa Musicale Sonzogno di Piero Ostali)... »

28 Dec 2004

Die Presse Reviews Das Rheingold at Covent Garden

Covent Garden: über 193 Stufen nach Walhall VON PETRA HAIDERER Mit "Rheingold" begann der neue "Ring"-Zyklus in Londons Covent Garden Opera - Bryn Terfel sang erstmals den Wotan. This is Covent Garden!", sagt die me lodische Frauenstimme in der Londoner... »

28 Dec 2004

Schnittke's Gesualdo — Another View

Staatsoper: Neuer Versuch mit dem Kindsmord VON WILHELM SINKOVICZ Alfred Schnittkes "Gesualdo" wieder auf dem Spielplan: exzellent besetzt, aber nach wie vor problematisch. Das Stück wird nicht besser, wenn man es bis in die kleinsten Rollen mit edelsten Stimmen besetzt,... »

27 Dec 2004

Schnittke's Gesualdo at the Wiener Staatsoper

Gesualdo Vienna State Opera By Larry L Lash Published: December 27 2004 02:00 | Last updated: December 27 2004 02:00 In a house where world premieres are rare and successful ones even rarer, I suspect the Vienna State Opera feels... »

27 Dec 2004

Il trovatore at Munich

Gefahr für die Luftröhre Staatsoper: Neu besetzter "Troubadour" Eine Produktion mit Hustenreiz-Garantie. Denn wenn sich der Vorhang zum hochgradig verstaubten Staatsopern-"Troubadour" öffnet, dann sträuben sich in der Luftröhre die Flimmerhärchen. Für Stars auf der Durchreise taugt das müde Arrangement allemal:... »

26 Dec 2004

Hoffmann at Marseille

Tales of Hoffmann, Opéra de Marseille By Francis Carlin Published: December 23 2004 02:00 | Last updated: December 23 2004 02:00 We have surely not heard the last word on Offenbach's attempt to get back into the world of grand... »

24 Dec 2004

Haydn's The Creation at The Sage, Gateshead

Haydn’s Creation couldn’t have been a more appropriate choice for the opening concert at The Sage Gateshead complex, although it must have felt more like “paradise found” for the Northern Sinfonia than Paradise Lost, the Milton poem on which the oratorio is based. In the performances of the uninhibited soloists – Geraldine McGreevy, Thomas Walker and Michael George (placed, perhaps unwisely, behind the orchestra) – there was a sense of the architectural accomplishment and, more obviously, the human joy contained in Haydn’s great work. The one artistic achievement matched the other splendidly. »

23 Dec 2004

Shostakovich's The Nose at Théâtre Graslin, Nantes

The Nose/Angers-Nantes Opéra, Théâtre Graslin, Nantes By Francis Carlin Published: December 22 2004 13:05 | Last updated: December 22 2004 13:05 Now merged with nearby Angers, Nantes is still flying the flag of artistic courage and digging out overlooked jewels.... »

22 Dec 2004

ROSSINI: Zelmira

Zelmira Gioachino Rossini, music and Andrea Leone Tortola, libretto ORC 27 Scottish Chamber Orchestra Maurizio Benini, conductor Besides its Opera in English series on Chandos, Peter Moore's Foundation has sponsored the recording of many a fine bel canto rarity on... »

21 Dec 2004

Carmen at De Vlaamse Opera

The sigh of relief was almost audible during the short love duet after “La fleur que tu m’avais jetée”. Carmen started to strip down, fumbled a little bit with José’s pants and both started their love making. So after all, Bieito’s signature tune was being played. In reality apart from the many lewd gestures, both singers remained firmly and fully clothed. The only full nude was a male dancer during the prelude to the third act and even he was lighted in clair-obscur. Another Bieito-feature, horrible violence, was also somewhat muted. Granted, José gutted Carmen in the finale of the opera in plain sight and in the well-known way Islamists treat those poor people they can lay their hands on and therefore it was a bloody affair but still everybody knows “this is theatre”. »