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Elsewhere

Claude Debussy and Lili Boulanger commemorated at the Proms

Two French commemorations - ‘anniversaries’ always seems the wrong word - and surely is - here: the centenary of the deaths of Claude Debussy and Lili Boulanger.

Pique Dame in Salzburg

It was emeritus night at the Salzburg Festival with 75 year old maestro Mariss Jansons conducting 77 year old stage director Hans Neuenfels production about Pushkin’s 87 year old countess known as the Pique Dame.

Lohengrin at Bayreuth

Three electrifying moments and the world is forever changed.

Salome in Salzburg

A Romeo Castellucci production is always news, it is even bigger news just now in Salzburg where Lithuanian soprano Asmik Grigorian has made her debut as the fifteen year-old Salome.

Vaughan Williams Dona nobis pacem - BBC Prom 41

Prom 41 at the Royal Albert Hall, London, with Edward Gardner conducting the BBCSO in Vaughan Williams's Dona nobis pacem, Elgar's Cello Concerto (Jean-Guihen Queyras) and Lili Boulanger . Extremely perceptive performances that revealed deep insight, far more profound than the ostensible "1918" theme

Lisbon under ashes - rediscovered Portuguese Baroque

In 1755, Lisbon was destroyed, first by a massive earthquake, then by a tsunami pouring in from the Atlantic, then by fire and civil unrest. The scale of the disaster is almost unimaginable today. The centre of the Portuguese Empire, with treasures from India, Africa, Brazil and beyond, was never to recover. The royal palaces, with their libraries and priceless collections, were annihilated.

John Wilson brings Broadway to South Kensington: West Side Story at the BBC Proms

There were two, equal ‘stars’ of this performance of the authorised concert version of Leonard Bernstein’s West Side Story at the Royal Albert Hall: ‘Lenny’ himself, whose vibrant score - by turns glossy and edgy - truly shone, and conductor John Wilson, who made it gleam, and who made us listen afresh and intently to every coloristic detail and toe-tapping, twisting rhythm.

Prom 36: Webern, Mahler, and Wagner

One of the joys of writing regularly – sometimes, just sometimes, I think too regularly – about performance has been the transformation, both conscious and unconscious, of my scholarship.

Glyndebourne announces new Artistic Director

Stephen Langridge has been appointed Artistic Director of Glyndebourne. Stephen is currently Director for Opera and Drama at Gothenburg Opera, Sweden, a role he has occupied for five years. He will take up his new role at Glyndebourne in spring 2019.

Prom 33: Thea Musgrave, Phoenix Rising, and Johannes Brahms, Ein deutsches Requiem, op.45

I am not sure I could find much of a connection between the two works on offer here. They offered ‘contrast’ of a sort, I suppose, yet not in a meaningful way such as I could discern.

Gianni Schicchi by Oberlin in Italy

It’s an all too rare pleasure to see Puccini’s only comedy as a stand alone opera. And more so when it is a careful production that uncovers the all too often overlooked musical and dramatic subtleties that abound in Puccini’s last opera.

Sarah Connolly and Joseph Middleton journey through the night at Cadogan Hall

The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling. Fittingly, mezzo-soprano Dame Sarah Connolly and pianist Joseph Middleton presented a recital of English song settings united by the poetic themes of night, sleep, dreams and nightmares, juxtaposing masterpieces of the early-twentieth-century alongside new works by Mark-Anthony Turnage and Australian composer Lisa Illean, and two ‘long-lost’ songs by Britten.

Vanessa: Keith Warner's Glyndebourne production exposes truths and tragedies

“His child! It must not be born!” Keith Warner’s new production of Samuel Barber’s Vanessa for Glyndebourne Festival Opera makes two births, one intimated, the other aborted, the driving force of the tragedy which consumes two women, Vanessa and her niece Erika, rivals for the same young man, Anatol, son of Vanessa’s former lover.

Rollicking Rossini in Santa Fe

Santa Fe Opera welcomed home a winningly animated production of L’Italiana in Algeri this season that utterly delighted a vociferously responsive audience.

Rock solid Strauss Salomé- Salzburg

Richard Strauss Salomé from the Salzburg Festival, conducted by Franz Welser-Möst, a powerful interpretation of an opera which defies easy answers, performed and produced with such distinction thast it suceeds on every level. The words "Te saxa Loquuntur" (The stones are speaking to you) are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents. In this opera, the characters talk at cross-purposes, hearing without understanding. The phrase suggests that what might not be explicitly spoken might have much to reveal.

Prom 26: Dido and Cleopatra – Queens of Fascination

In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Dido and Cleopatra. Returning in a sense to her ‘early music’ roots – her career has always been far richer, more varied, but that world has always played an important part – she collaborated with the Italian ‘period’ ensemble, Il Giardino Armonico and Giovanni Antonini.

Parsifal: Munich Opera Festival

And so, this year’s Munich Opera Festival and this year’s Bavarian State Opera season came to a close with everyone’s favourite Bühnenweihfestspiel, Parsifal, in the final outing this time around for Pierre Audi’s new production.

Santa Fe: Atomic Doesn’t Quite Ignite

What more could we want than having Peter Sellars re-imagine his acclaimed staging of John Adams’ Doctor Atomic at the renowned Santa Fe Opera festival?

Santa Fe: Continuing a Proud Strauss Tradition

Santa Fe Opera has an enduring reputation for its Strauss, and this season’s enjoyable Ariadne auf Naxos surely made John Crosby smile proudly.

From the House of the Dead: Munich Opera Festival

Frank Castorf might have been born to direct From the House of the Dead. In this, his third opera project - or better, his third opera project in the opera house, for his Volksbühne Meistersinger must surely be reckoned with, even by those of us who did not see it - many of his hallmarks and those of his team are present, yet without the slightest hint of staleness, of anything other than being reborn for and in the work.


OPERA TODAY ARCHIVES »

Performances

Prom 44: City of Birmingham Symphony Orchestra, Chorus and Youth Chorus conducted by Ludovic Morlot
17 Aug 2018

Claude Debussy and Lili Boulanger commemorated at the Proms

Two French commemorations - ‘anniversaries’ always seems the wrong word - and surely is - here: the centenary of the deaths of Claude Debussy and Lili Boulanger. »

Recently in Performances

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14 Apr 2017

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera. »

14 Apr 2017

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.  »

14 Apr 2017

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.  »

14 Apr 2017

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.  »

11 Apr 2017

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.  »

09 Apr 2017

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury. »

07 Apr 2017

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency. »

05 Apr 2017

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.  »

01 Apr 2017

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight. »

01 Apr 2017

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio. »

28 Mar 2017

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.  »

28 Mar 2017

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering. »

27 Mar 2017

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.  »

27 Mar 2017

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative. »

26 Mar 2017

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values. »

21 Mar 2017

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century. »

21 Mar 2017

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.  »

19 Mar 2017

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.  »

18 Mar 2017

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).  »

15 Mar 2017

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake. »

14 Mar 2017

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).  »

14 Mar 2017

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.  »

13 Mar 2017

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.  »

08 Mar 2017

Berliner Philharmoniker’s Ruhr Residency (I): Camilla Tilling charms in the Childhood delights of Mahler’s Fourth

Before, I arrived in Essen for Ligeti's Le Grand Macabre, I made a pitstop in Dortmund. The night before, the opera took place here, and now a packed Konzerthaus flocked to hear Mahler’s Fourth Symphony. American soprano Camilla Tilling starred in the solo part. Before the intermission, Patricia Kopatchinskaja enthralled the audience with Ligeti’s Violin Concerto. Mahler’s celebration of life proved the perfect antidote to Ligeti’s fearless exploration of the terror in humanity.  »

07 Mar 2017

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.  »

05 Mar 2017

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil. »

28 Feb 2017

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.  »

25 Feb 2017

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.  »

25 Feb 2017

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.  »

25 Feb 2017

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet. »