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Elsewhere

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

A Chat With Up-and-Coming Conductor Kathleen Kelly

Kathleen Kelly is an internationally renowned pianist, coach, conductor, and master teacher. She was the first woman and first American named Director of Musical Studies at the Vienna State Opera.

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.


OPERA TODAY ARCHIVES »

Reviews

05 Feb 2016

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.  »

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06 Feb 2005

Handel's Julius Caesar in Denver

Stephanie Blythe recalls exactly where she was 10 years ago when she fully grasped the power of great acting in opera. Then an apprentice artist at the Metropolitan Opera in New York City, the mezzo-soprano was standing offstage about 25 feet from famed tenor Placido Domingo as he sang a love duet in “Die Walküre” with soprano Deborah Voigt. »

06 Feb 2005

Carmen at Opera Australia

IT would come as a shock to opera-goers if the cast of Carmen were suddenly to break into a chorus of Sisters are Doing it for Themselves. They might be forgiving, however, once they heard the gospel-tinged tones of American mezzosoprano Andrea Baker, who sings the title role in the Opera Australia production that begins a six-week run under the baton of Russian conductor Alexander Polianichko at the Sydney Opera House tonight. »

06 Feb 2005

Venus and Adonis at Seattle

It may not have been the best of times or the worst of times, but it was certainly among the naughtiest of times. Restoration England, which marked the end of Cromwell’s Puritan regime with the accession of merry monarch Charles II, was an era that makes Paris Hilton seem like a convent girl and “Sex and the City” like a school picnic. In Charles II’s reign, all the prohibitions of Cromwell’s era were repealed; the theaters were reopened, low-cut lace replaced buttoned-up wool, and the royal motto was evidently “thou shalt party hearty.” »

06 Feb 2005

Gruberova Performs Norma at the Wiener Staatsoper

Für Edita Gruberova hat die Staatsoper eine konzertante Fassung von Vicenzo Bellinis “Norma” aufs Programm gesetzt. Endlose Begeisterung, Blumen, Stan ding ovations dankten Edita Gruberova und ihren Mitstreitern für einen packenden Opernabend, der die szenische Aufbereitung keinen Augenblick vermissen ließ. Gerne verzichtete man darauf, die zeitgebundene Schauerromantik der Druiden und ihrer Opferriten anno 50 v. Chr. leibhaftig vor sich zu sehen. Und mehr noch: Keine Regie-Eitelkeit lenkte von der puren Musik ab. »

05 Feb 2005

Das Wachsfigurenkabinett at the Münchner Reaktorhalle

Ein buntes Schaubudenprogramm, anmoderiert von zwei Damen in knackigen Kostümen, so präsentieren sich die fünf Kurzopern von Karl Amadeus Hartmanns “Das Wachsfigurenkabinett” in der Münchner Reaktorhalle (Regie: Stefan Spies). Der Inszenierung des ersten Stücks “Der Mann, der vom Tode auferstand” fehlt noch Witz und Schwung. Die Geschichte vom reichen Fabrikanten, der vor seinem Radiogerät einschläft und das Hörspiel von der Arbeiterrevolution für Wirklichkeit hält, leidet an den Schaufel schwingend auftretenden, plump marschierenden Arbeitern. »

05 Feb 2005

Star Cross'd Lovers In LA

Stale marzipan it may be, but given the appropriate set of protagonists, Charles Gounod’s ponderous 1867 adaptation of Shakespeare’s youthful tragedy still has the power to arouse the senses and engage, if not engulf, the soul. In Rolando Villazón and Anna Netrebko, the Los Angeles Opera has found doomed lovers who are as much star material as “star cross’d”. Whatever else is lacking in the first west coast production of the opera here in 18 years, the Mexican tenor and Russian soprano radiate youthful ardour, stylistic sophistication and sheer theatrical magic. »

05 Feb 2005

SMART: Mimomania: Music and Gesture in Nineteenth-Century Opera

Here's a serious niche book, a relatively slender volume dealing with a topic at once both arcane and surprisingly central to some of the major controversies in opera production today. I think it has major problems but it has become for me the pebble dropped into the pond that sends ripples to unexpected places, raising interesting questions in the process. »

04 Feb 2005

Democracy: An American Comedy in Washington

How is it possible that a new opera crammed with hot-button subjects—political corruption, ecclesiastical self-satisfaction, feminism, homosexuality—could be a blandly inoffensive entertainment? “Democracy: An American Comedy,” by composer Scott Wheeler and librettist Romulus Linney, commissioned by the Washington National Opera and given its world premiere last weekend, was disappointingly safe. Its provocative themes were smothered by a talky libretto that alternated between earnest exposition and sitcom jokes, set in smoothly tonal, insipid musical language. »

04 Feb 2005

An Evening of Soprana and Mezzo Duets at the Barbican

There are many profound experiences to be had in a concert hall, but an evening of soprano and mezzo duets isn’t one of them. Still, on the disc they brought out last autumn, Barbara Bonney, Angelika Kirchschlager and accompanist Malcolm Martineau managed to pick out some of the more interesting numbers in this frothy repertoire. Many of those made it into this recital – along with lashings of sugary charm, a few girly hugs and a line in the programme from Kirchschlager about how it wasn’t only their voices fitting together but their souls, too. Yeuch. »

02 Feb 2005

BELLINI: I Capuleti e I Montecchi

Surely the reader of this reviewer is passionate about opera – why else, faithful one, have you found yourself at the fount of information and wisdom knows as Opera Today? Therefore, the need for an outfit such as Premiere Opera need not be belabored – true opera lovers know that there sometimes arises a need to have a performance that cannot easily be obtained, and that need may trump the desire to have the recording, (whether only audio, or visual as well, as in the case of this DVD) be of optimal quality. So what we have here is a performance of April 7, 2002, at the Teatro Cuyas in the lovely Canary Islands. The opera is Bellini’s I Capuleti e I Montecchi, and the star gracing the stage as the lovely young Capulet is Cristina Gallardo-Domas. Perhaps it is her fans who will be most grateful to Premiere Opera for making available a record of the performance. Not to be slighted, however, is her imposing Romeo, a mezzo/trouser role. Daniela Barcellona is a rising star, and the reasons why are evident here. And Bellini lovers, as your reviewer knows well, are apt to want most any document of the master’s work, as the operas get performances but not as often as his fans might wish. »

01 Feb 2005

Thomas Hampson in Düsseldorf

Düsseldorf. Das Lied gehört zu den konzentriertesten Kunstformen überhaupt. Es ist einerseits, wie Thomas Mann sagte, “eine ganze Welt”, andererseits nimmt es nur wenig Zeit in Anspruch und bedarf lediglich zweier Musiker. Text und Musik vereinigen sich zu einer synchronen Sprache, die menschliches Empfinden in potenzierter Intensität ausdrückt. Aber das Lied ist auch eine für die Ausführenden anspruchsvolle Gattung. »

01 Feb 2005

Vivaldi's Farnace at Resonanzen 2005

Dreizehn als Glückszahl: Das 13. Festival Alter Musik wird in die Annalen des Wiener Konzerthau ses als besonders geglückt eingehen. Das kenntnisreich zusammengestellte Programm deckte nahezu alle wesentlichen Epochen, Nationalstile und Klangmöglichkeiten Alter Musik ab; fast durchwegs gut gewählt waren die Interpreten, und der Almanach könnte so manches historische und musikgeschichtliche Handbuch ersetzen. »

01 Feb 2005

Doina Dimitriu Wows Chicago

The season’s first performance of Puccini’s “Tosca” at Lyric Opera on Monday night brought an authentic slice of operatic history to the Civic Opera House: The vintage production director Franco Zeffirelli mounted in 1964 for London’s Royal Opera to lure Maria Callas out of semi-retirement. Tito Gobbi, the great Scarpia of his generation, was her co-star. The well-worn staging has done honorable service for more than 40 years, having seen 38 revivals and 242 performances before it was finally retired in July. The classic production was promptly bought lock, stock and battlements by Lyric Opera, which is dedicating it to Gobbi’s memory. »

01 Feb 2005

La Traviata at Covent Garden

Verdi demanded three qualities for his “fallen woman”: looks, anima (soul) and a good stage presence. What he did not want was a glossy prima donna. The part broke convention not just histrionically, in its depiction of a contemporary prostitute, but also vocally. It needs a soprano agile enough to throw off the Act 1 coloratura, and strong enough to meet the dramatic requirements of Acts 2 and 3. That’s asking a lot, and most sopranos fall short. So it was fascinating, at the Royal Opera’s latest revival on Saturday, to come across Norah Amsellem. She has period looks, a pretty smile, a malleable physiognomy. She knows how to adapt her whole demeanour to Violetta’s changing situation, so that the figure we behold on stage is not an opera singer but a human being with the power to disarm us emotionally. That may be a gift of acting, but it also reflects Amsellem’s complete identification with the music. Her soprano is a bit one-dimensional, especially at the top, and she proved a surprisingly plain letter-reader. In all other set-pieces she had the theatre spellbound. “Dite alla giovine” and “Addio, del passato” were especially effective: Amsellem sang them in a beautifully controlled half-voice, stretching the tempo to its very limit. Some might call it self-indulgent; to me it sounded like the truth. »

31 Jan 2005

La Forza del destino at Opéra Royal de Wallonie

So this was how a Forza would have sounded in the fifties and sixties in one of the better Italian provincial houses. At that time those extinguished species (lirico-spinto tenor and soprano) were still in abundant supply and one could easily hear nowadays forgotten names like Zambruno, Mori, Vicentini, Borso on the male and Mancini, De Osma, Barbato etc on the female side: big booming voices, maybe not always very subtle but steeped in the Verdian tradition and not afraid to give unstintingly all of their voices as if there is no tomorrow. »

30 Jan 2005

The Cambridge Companion to Grand Opera

Among the recent publications on opera, The Cambridge Companion to Grand Opera, edited by David Charlton, breaks new ground with its systematic and thorough exploration of grand opera, a specific part of the genre which played an important role in the musical culture of the nineteenth century. »

30 Jan 2005

A Batallar Estrellas — Music in Spanish Cathedrals of the Seventeenth Century

Interest in the music of “New Spain” (the Spanish colonies in the Americas) has blossomed in the last decade, with a number of fine recordings of sacred music composed by musicians who emigrated to the New World in support of the mission of the Catholic church. A parallel interest in the music of those who stayed in Spain – indeed, who set the tradition that was exported to the Americas – has been slower to build, so this recording is especially welcome, since it provides an opportunity to hear a tradition seldom performed outside of Spain, whether in the Baroque era or in the present. »