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Elsewhere

Halévy’s Magnificent La reine de Chypre (1841) Gets Its Long-Awaited World Premiere Recording

Halévy’s La reine de Chypre (The Queen of Cyprus) is the 17th opera to be released in the impressively prolific “French Opera” series of recordings produced by the Center for French Romantic Music, a scholarly organization located at the Palazzetto Bru Zane in Venice. (Other recent offerings have included Saint-Saëns’s richly characterized Proserpine, Benjamin Godard’s fascinating Dante--which contains scenes set in Heaven and Hell--and Hérold’s Le pré aux clercs, an opéra-comique that had a particularly long life in the international operatic repertoire.)

Moshinsky's Simon Boccanegra returns to Covent Garden

Despite the flaming torches of the plebeian plotters which, in the Prologue, etched chiaroscuro omens within the Palladian porticos of Michael Yeargan’s imposing and impressive set, this was a rather slow-burn revival of Elijah Moshinsky’s 1991 production of Simon Boccanegra.

Royal Academy's Semele offers 'endless pleasures'

Self-adoring ‘celebrities’ beware. That smart-phone which feeds your narcissism might just prove your nemesis.

The Eternal Flame: Debussy, Lindberg, Stravinsky and Janáček - London Philharmonic, Vladimir Jurowski

Although this concert was ostensibly, and in some respects a little tenuously, linked to the centenary of the Armistice, it did create some challenging assumptions about the nature of war. It was certainly the case in Magnus Lindberg’s new work, Triumf att finnas till… (‘Triumph to Exist…’) that he felt able to dislocate from the horror of the trenches and slaughter by using a text by the wartime poet Edith Södergran which gravitates towards a more sympathetic, even revisionist, expectation of this period.

François-Xavier Roth conducts the London Symphony Orchestra and Chorus in Works by Ligeti, Bartók and Haydn

For the second of my armistice anniversary concerts, I moved across town from the Royal Festival Hall to the Barbican.

The Silver Tassie at the Barbican Hall

‘Serious sport has nothing to do with fair play. It is bound up with hatred, jealousy, boastfulness, disregard of all rules and sadistic pleasure in witnessing violence: in other words it is war minus the shooting.’ The words of George Orwell, expressed in a Tribune article, ‘The Sporting Spirit’, published in 1945.

The Last Letter: the Britten Sinfonia at Milton Court

The Barbican Centre’s For the Fallen commemorations continued with this varied and thought-provoking programme, The Last Letter, which interweaved vocal and instrumental music with poems and prose, and focused on relationships - between husband and wife, fellow soldiers, young men and their homelands - disrupted by war.

Fiona Shaw's Cendrillon casts a spell: Glyndebourne Tour 2018

Fiona Shaw’s new production of Massenet’s Cendrillon (1899) for this year’s Glyndebourne Tour makes one feel that the annual Christmas treat at the ballet or the panto has come one month early.

The Rake’s Progress: Vladimir Jurowski and the London Philharmonic

Stravinsky’s The Rake’s Progress is not, in many ways, a progressive opera; it doesn’t seek to radicalise, or even transform, opera and yet it is indisputably one of the great twentieth-century operas.

Bampton Classical Opera to perform Gian Carlo Menotti's Amahl and the Night Visitors

Gian Carlo Menotti’s much-loved Christmas opera, Amahl and the Night Visitors was commissioned in America by the National Broadcasting Company and was broadcast in 1951 - the first-ever opera composed specifically for television. Menotti said that it “is an opera for children because it tries to recapture my own childhood”.

A raucous Così fan tutte at the Guildhall School of Music and Drama

Precisely where and when Così fan tutte takes place should be a matter of sublime indifference - or at least of individual taste. It is ‘about’ many things, but eighteenth-century Naples - should that actually be the less exotic yet still ‘othered’ neāpolis of Wiener Neustadt? - is not among them.

For the Fallen: James Macmillan's All the Hills and Vales Along at Barbican Hall

‘He has clothed his attitude in fine words: but he has taken the sentimental attitude.’ So, wrote fellow war poet Charles Hamilton Sorley of the last sonnets of Rupert Brooke.

Kings College, Cambridge launches as curator on Apple Music

November 5, 2018, Los Angeles, CA: Today, King’s College Cambridge announces the launch of the College as a curator on Apple Music.

Royal Opera House’s Music Director Sir Antonio Pappano extends tenure to 2023

Sir Antonio Pappano, Music Director of the Royal Opera House, has confirmed that he will remain in position until at least the end of the 2022/23 Season.

English Touring Opera: Troubled fidelities and faiths

‘Can engaging with contemporary social issues save the opera?’ asked M. Sophia Newman last week, on the website, News City, noting that many commentators believe that ‘public interest in stuffy, intimidating, expensive opera is inevitably dwindling’, and that ‘several recent opera productions suggest that interest in a new kind of urban, less formally-staged, socially-engaged opera is emerging and drawing in new audiences to the centuries-old art form’.

Himmelsmusik: L'Arpeggiata bring north and south together at Wigmore Hall

Johann Theile, Crato Bütner, Franz Tunder, Christian Ritter, Giovanni Felice Sances … such names do not loom large in the annals of musical historiography. But, these and other little-known seventeenth-century composers took their place alongside Bach and Biber, Schütz and Monteverdi during L’Arpeggiata’s most recent exploration of musical cross-influences and connections.

Boston Early Music Festival Chamber Opera to Present Caccini’s Alcina

The GRAMMY-Winning Boston Early Music Festival Chamber Opera Series presents Francesca Caccini’s Alcina on Thanksgiving weekend – November 24 & 25 in Boston and November 26 & 27 in New York City

Complementary Josquin masses from The Tallis Scholars

This recording on the Gimell label, the seventh of nine in a series by the Tallis Scholars which will document Josquin des Prés’ settings of the Mass (several of these and other settings are of disputed authorship), might be titled ‘Sacred and Profane’, or ‘Heaven and Earth’.

Piotr Beczała – Polish and Italian art song, Wigmore Hall London

Can Piotr Beczała sing the pants off Jonas Kaufmann ? Beczała is a major celebrity who could fill a big house, like Kaufmann does, and at Kaufmann prices. Instead, Beczała and Helmut Deutsch reached out to that truly dedicated core audience that has made the reputation of the Wigmore Hall : an audience which takes music seriously enough to stretch themselves with an eclectic evening of Polish and Italian song.

Soloists excel in Chelsea Opera Group's Norma at Cadogan Hall

“Let us not be ashamed to be carried away by the simple nobility and beauty of a lucid melody of Bellini. Let us not be ashamed to shed a tear of emotion as we hear it!”


OPERA TODAY ARCHIVES »

Reviews

Ediciones Singulares 1032
18 Nov 2018

Halévy’s Magnificent La reine de Chypre (1841) Gets Its Long-Awaited World Premiere Recording

Halévy’s La reine de Chypre (The Queen of Cyprus) is the 17th opera to be released in the impressively prolific “French Opera” series of recordings produced by the Center for French Romantic Music, a scholarly organization located at the Palazzetto Bru Zane in Venice. (Other recent offerings have included Saint-Saëns’s richly characterized Proserpine, Benjamin Godard’s fascinating Dante--which contains scenes set in Heaven and Hell--and Hérold’s Le pré aux clercs, an opéra-comique that had a particularly long life in the international operatic repertoire.) »

Recently in Reviews

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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. »

14 Jun 2005

Dame Gwyneth Jones sings Wagner

This CD is a digital remastering of an original 1991 recording of Gwyneth Jones in selections from Tannhäuser, Lohengrin, Tristan und Isolde and Götterdämmerung. Jones was (and is) one of the great interpreters of Wagner, and the release of this CD is a welcome event, not only to her many friends, but all of us who are fascinated by the interpretation of Wagner’s works. The recording is clearly meant to serve as a recorded monument to her artistry. Unfortunately, the CD is marred by many problems that make it less than satisfactory. »

14 Jun 2005

RESPIGHI: La Campana sommersa

Ottorino Respighi (1879-1936) is known best in the United States for his tone poems, including the Pines of Rome, the Fountains of Rome, and Roman Festivals, and, perhaps for some of his suites of early music, like the sets of Ancient Airs and Dances that reflect his detailed orchestrations. During his lifetime, however, his operas were known, and they include Re Enzo (1905); Semirama (1910); Belfagor (1921-22); La bella dormente nel bosco (1916-21); La campana sommersa (The Sunken Bell) (1923-27); Maria Egiziaca (1929-31); La Fiamma (1931-33); Lucrezia (1935). It is unfortunate that recordings of these works are somewhat rare, but that is quickly remedied by the recent issue of La campana sommersa on the Accord label. »

14 Jun 2005

DONIZETTI: Elvida

It is an unfortunate fact that operas outside of the common repertory have in the past been deemed less worthy than those included in what amounts to a popular "play list" of works that consistently draw audiences. »

14 Jun 2005

VIVALDI: Arsilda, Regina di Ponto

Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant’Angelo in the fall of 1716. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier. Domenico Lalli, his librettist, who settled in Venice in 1710 after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century. »

14 Jun 2005

The Midnight Court at Queen of Puddings Music Theatre

Irish fairies can be malign spirits, but they’ve done nothing but good for Queen of Puddings Music Theatre. This small Toronto company launched its only production of the season at Harbourfront Centre on Saturday, and a scant hour later had scored its biggest artistic success ever. »

12 Jun 2005

SCHUMANN: Dichterliebe & Kerner-Lieder

Ulf Bästlein’s recent compilation of Lieder by Schumann presents fine performances of the works listed in the title, the cycle Dichterliebe (to texts by Heinrich Heine) and the Liederreihe usually referred to as the Kerner-Lieder for the twelve settings of poetry by author Justinus Kerner. It also contains some songs that may be less familiar, including several other settings of Heine: “Der arme Peter,” op. 53, no. 3, “Die beiden Grenadiere,” op. 49, no 1, and the late work “Dein Angesicht,” op. 127, no. 2. This is a rich and focused program that offers some of Schumann’s finest Lieder on a single disc. »

11 Jun 2005

SCARLATTI: Disperato Amore

Alessandro Scarlatti, a contemporary of Handel and father of Domenico Scarlatti, was a prolific composer of cantatas, oratorios, and operas. He wrote more than 60 operas and 600 cantatas. Contemporaries frequently distinguished between styles according to the locale in which they might have been performed or to which they were appropriate: the church, chamber, and theatrical styles. The cantata was considered a genre of the chamber style and offered listeners refined counterpoint and delicate changes in dynamics; cantatas of the period generally set pastoral or love texts and employed recitative alternating with arias. Many of Scarlatti’s cantatas were written for performances at aristocratic residences; most survive in manuscript form and were never published. »

11 Jun 2005

GLUCK: Alceste

This two-disc performance was performed and recorded on December 12, 1981 at Covent Garden in London. The recording is one of a series of Ponto releases dedicated to Dame Janet Baker, who performs here the role of Alceste. This drama, a collaboration between Gluck and the librettist Calzabigi, was performed in late 1767 and is based on the tragedy by the ancient Greek poet Euripides. It was written in response to Empress Maria Theresa’s grief over the death of the emperor, given that the text is practically synonymous with conjugal devotion. Calzabigi’s libretto specifically emphasizes Alceste’s sacrifice for her husband throughout, and is dedicated to Maria Theresa. The staging of the opera was delayed by a number of other royal deaths in 1767. Alceste was revived in 1770. »

11 Jun 2005

WEBER: Oberon

In a certain sense, each of Carl Maria von Weber's final three operas: Der Freischütz, Euryanthe, and Oberon belongs to a different genre. Freischütz — the only one of these three that still in any way forms a part of the repertoire — builds on the folk-like traditions of the Singspiel, while Euryanthe is more closely related to the grand operas that were to become so important in the 1830s and 1840s. »

11 Jun 2005

MORRIS: Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg

Interludes in opera articulate moments when the lush voices of singers and vivid spectacle of scenery and action are removed and often the curtain is drawn, and thus they span a functional gap between textless instrumental music and explicit theatrical vehicle. Although composers and analysts suggest rich and multivalent meanings for the music, those implications often escape decoding by audiences. Even the interlude titles — Zwischenspiel, entr'acte, intermezzo — suggest their intermission-like nature. As functional placeholders for scene changes and the like, the interludes are for many a cue to relax attentive listening, read synopses, and whisper with companions. Undaunted by such complexities, Morris takes up the problematic nature of operatic interludes, engaging their ambiguities with eyes wide open in an effort to enrich our understanding of these challenging bits of music. »

10 Jun 2005

HAYDN: Symphonies no. 91 & 92 (“Oxford”) and Scena di Berenice

This wonderful recording features two Haydn symphonies composed in the year 1789, which frame the short dramatic scena Berenice, premiered in London in 1795. The autograph scores of the two symphonies were dedicated and given to Claude-Francois-Marie Rigoley, Comte d’Ogny, cofounder and patron of the “Concert de la Loge Olympique,” an association for which Haydn had already written the so-called “Paris” symphonies in 1785/86. »

09 Jun 2005

A Portrait of Ernst Gruber

Up to now Ernst Gruber was only a name to me. During the fifties and sixties his career was centered in the houses of the defunct German Democratic Republic; first Dresden and Leipzig and later on at the Deutsche Staatsoper in East-Berlin. Usually he rated one or two entries each year in Opera Magazine; mostly just barely mentioning his name as even in those times reviewers concentrated almost exclusively on the antics of director Felsenstein and some of his copycats. So I thought of him as one of those somewhat to be avoided German tenors like Hans Günther Nocker who, while acting their heads off, sang in that barking way that got them epitaphs like “intelligent, thought-provoking” while words like “beauty of tone” were anathema to them and the critics. Mostly they remained behind the Iron Curtain, unless at the last moment they had to run to the rescue in Western Europe or the US when Windgassen or Thomas fell unexpectedly ill. They were always happy to comply as they mostly got 20% of the fee, immediately handing over the remaining 80% to the Stasi officer accompanying and controlling them, who would always remind them of the fate of their families who had to stay home as hostages. »

09 Jun 2005

Falstaff at LA Opera

LOS ANGELES (Hollywood Reporter) – “Falstaff” might have been Verdi’s last opera; it might have been Verdi’s greatest opera; it is, without doubt, Verdi’s only and most hilariously comic opera. »

09 Jun 2005

Felicity Lott at Wigmore Hall

“What’s a dame like me doing in a dump like this?” It takes a DBE to get away with a line like that in a venue as august as the Wigmore Hall – and this was how Felicity Lott wrapped up a recital marking 30 years of performing here with pianist Graham Johnson. The programme, Fallen Women and Virtuous Wives, is one the pair are currently touring. While its humour found its niche in the Wigmore Hall, how it will play in Luxembourg next week is anyone’s guess. »

09 Jun 2005

Der Freischütz at Carnegie Hall

If Carl Maria von Weber never quite made it into the grand procession of Romantic giants, he left behind an opera of indestructible charm. “Der Freischütz,” which Eve Queler’s Opera Orchestra of New York undertook on Monday night at Carnegie Hall, is first of all a darling of historians – a musicological ground zero for the German musical theater. »