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Elsewhere

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.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.


OPERA TODAY ARCHIVES »

Performances

Bedřich  Smetana
04 May 2015

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»

Recently in Performances

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09 Jan 2013

In the Shadow of the Opéra

Graham Johnson chose the title "In the Shadow of the Opéra" for his recital at the Wigmore Hall, London, with Lucy Crowe and Christopher Maltman. Given the renaisaance in French opera, it's good that we should be thinking of the nature of French song and its relationship to French opera and culture. »

23 Dec 2012

Subject: Aimez-vous Meyerbeer?

Well, so many don’t nowadays, it appears to me, judging by the critical reception of Robert le Diable at the ROH. Rum-ti-tum? We recall Macbeth, Rigoletto, Trov and even Trav being characterised thus, popular fare but risible or blush- making, yet those works now command the highest respect.  »

17 Dec 2012

Courageous Winterreise : Florian Boesch, Wigmore Hall, London

Wintery weather in London for Florian Boesch's Schubert Winterreise at the Wigmore Hall. But what bliss to hear an austere interpretation that challenged assumptions !  »

16 Dec 2012

Grieg : Peer Gynt, Barbican Hall London

Edvard Grieg's Peer Gynt op 23 is rarely heard in full, though the Suites thereon are ubiquitous. At the Barbican Hall in London, Grieg's incidental music for Henrik Ibsen's play was heard complete, enhanced by incidental speech.  »

14 Dec 2012

Vienna: the window to modernity

This recital, which focused on a narrowly specific time and place — 1888-1933 Vienna — paradoxically illuminated not only the musical scope and richness of that epoch but also, as Renée Fleming notes in her prefatory programme article, the extraordinary extent of the diversity, transformation and flux, both historical and cultural, that characterised the era. »

14 Dec 2012

The Met’s Un Ballo in Maschera difficult to unmask

Director David Alden’s confusing production concepts in Verdi’s A Masked Ball may make you wonder whether you came to the right party »

10 Dec 2012

The Met’s La Clemenza di Tito blends inspired singing with dazzling wind obbligatos

The live HD simulcast of Mozart’s final operatic effort, set in ancient Rome, reached friends, Romans and countrymen the world over »

09 Dec 2012

Meyerbeer Robert le Diable, Royal Opera House

Why was Giacomo Meyerbeer's Robert le Diable an overwhelming success in its time ? The Royal Opera House production suggests why: it's a cracking good show! Extreme singing, testing the limits of vocal endurance, and extreme drama. Robert le Diable is Faust, after all, not history, and here its spirit is captured by audacious but well-informed staging. Listen with an open mind and heart and imagine how audiences in Meyerbeer's time might have imagined the madness and magic that is Robert le diable. »

07 Dec 2012

Rigoletto, Manitoba Opera

Manitoba Opera launched its celebratory, all-Verdi 40th anniversary season with the Italian master’s Rigoletto that still rattles the soul with its tale of revenge, murder, deceit and heart-wrenching pathos. »

07 Dec 2012

Britten’s Lachrymae at Wigmore Hall

The Nash Ensemble’s final contribution to the Wigmore Hall’s Britten centenary series, ‘Before Life and After’, presented works for soloists and strings. »

06 Dec 2012

Britten: The Canticles

‘Canticle’ is the term Britten used to denote an extended setting of a text of spiritual substance.  »

05 Dec 2012

WNO proves a point with Handel’s Jeptha

They say that there’s nothing worse than a musically-obtuse staging of any opera to put a rookie opera-goer off a composer (or even opera itself) for life.  »

29 Nov 2012

Vladimir Jurowski, LPO

Vladimir Jurowski said all the right things during a brief address at the opening of the concert. Beethoven’s Fifth Symphony should not be regarded as the climax of the performance, but as the fifth movement in a single work, whose theme was human suffering and the strength of the human spirit, never quashed by the former.  »

28 Nov 2012

Madame Butterfly, LA Opera

A beautiful, blingless Butterfly. How else to describe the pleasures of four glorious voices singing Puccini’s heart breaking, passionate melodies without igniting romantic sparks?  »

27 Nov 2012

Haydn and Strauss, LPO

Haydn’s settings of the Mass ought to be heard incessantly, in churches and in the concert hall.  »

24 Nov 2012

Bizet’s Carmen at ENO

Drawing on the dark viciousness and bitter malevolence of Prosper Mérimée’s ethnographical novella, Calixto Bieito’s Carmen rejects any notion of flamboyant exoticism and alluring eroticism, and presents us instead with a sordid twilight zone of sexual violence and brutal malice.  »

23 Nov 2012

Roméo et Juliette by Arizona Opera

French composer Charles Gounod wrote his five-act opera  Roméo et Juliette  to a libretto that Jules Barbier and Michel Carré based on William Shakespeare’s  Tragedy of Romeo and Juliet.  »

23 Nov 2012

Tosca (Postscript) in San Francisco

Extraordinary diva, Angela Gheorghiu pulled out of opening night after act one. It was news when she made it to the end of the second performance. Here is what happened at the third performance. »

21 Nov 2012

Joan of Arc as Atheist Heroine

Jeanne D’Arc—Szenen aus dem Leben der Heiligen Johanna, the last stage work of the German composer Walter Braunfels, documents a passage in music history that has only recently begun to break through the surface. »

21 Nov 2012

Wozzeck at Los Angeles

Wozzeck Wozzeck, Wozzeck: The Los Angeles Philharmonic’s Laureate Conductor, Esa-Pekka Salonen, now Principal Conductor and Artistic Advisor to the London’ Philharmonia Orchestra, is touring the United States with a program that includes three staged performances of Alban Berg’s opera, Wozzeck.  »

21 Nov 2012

Finzi Dies Natalis, Britten, Vaughan Williams, Wigmore Hall

The Nash Ensemble's series at the Wigmore Hall, "Dreamer of Dreams" continued its survey of British music in the first half of the 20th century with an intriguing programme. Many underlying themes, and thoughtful juxtapositions. »

18 Nov 2012

More Tosca in San Francisco

Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment. »

16 Nov 2012

Tosca in San Francisco

Operatic train wreck in San Francisco, hopes crushed for 3000 opera-goers, impresario’s grand scheme derailed. »

16 Nov 2012

Alagna sings Nemorino - L'elisir d'amore at the Royal Opera House, London,

One of the main reasons for interest in the Royal Opera’s latest revival of Donizetti’s L’elisir d’amore was that tenor Roberto Alagna had chosen to return to the role of Nemorino. Though he had sung Nemorino earlier in his career, he had never sung the role at Covent Garden. The other cast members were of a high order too, with Alexandra Kurzak as Adina, Ambrogio Maestri as Dulcamara and Fabio Capitanucci as Belcore. So plenty of reasons for seeing the revival, which I caught on opening night 13 November 2012.  »

16 Nov 2012

A Celebration of Mendelssohn Song

The Wigmore Hall Celebration of Mendelssohn Song series culminated in a recital of works by Felix and Fanny Mendelssohn and by Robert and Clara Schumann. The programme was very well chosen because Felix, Fanny, Robert and Clara knew each other.. »

14 Nov 2012

Wozzeck at UC Berkeley

At this famous bastion of intellect the biggest drama was the parking. Though the football stadium may have been stuffed, Zellerbach Hall was not. »

13 Nov 2012

Simon Boccanegra at Lyric Opera, Chicago

In its current production of Simon Boccanegra Lyric Opera of Chicago draws on vocal strengths as well as musical and stage direction that do honor to Giuseppe Verdi’s masterpiece of political and emotional intrigue in fourteenth-century Genoa.  »

10 Nov 2012

Wexford Festival Opera 2012

Wexford Opera’s 2012 trio of rarities, seen on the opening three nights of the Festival, spanned a mere twenty years but offered operatic idioms ranging from verismo to pantomime, operetta to Wagnerian love-death apotheosis. »

10 Nov 2012

The Resurrection of Italo Montemezzi’s Epic La Nave

Italo Montemezzi’s great “lost” epic opera, La Nave, was heard on 31 October for the first time since 1938, leaving an enthusiastic New York audience wondering why on earth it had been neglected for so long. »

10 Nov 2012

Oliver Knussen: Where the Wild Things Are and Higglety Pigglety Pop!

Marking Oliver Knussen’s sixtieth birthday came a BBC Total Immersion weekend at the Barbican: a double-bill of Knussen’s two operas written in collaboration with Maurice Sendak, Where the Wild Things Are and Higgledy Piggledy Pop! on Saturday, followed by a day of two chamber concerts, a film, and an orchestral concert conducted by the composer himself on Sunday.  »

10 Nov 2012

Ralph Vaughan Williams: The Pilgrim’s Progress

After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain. »

01 Nov 2012

Exaudi, Wigmore Hall

An intriguing blend of old and new marked the tenth anniversary of the British vocal group, Exaudi, juxtaposing the adventurous intricacies and affectations of the late-sixteenth century with the virtuosic refinements of today’s avant garde. »

28 Oct 2012

La bohème on Tour, WNO, Oxford

Every major opera company needs a production of La bohème. It is one of the operas which has the potential to attract everyone, the work which will tempt the occasional opera goer into the theatre.  »

27 Oct 2012

A New Production of Elektra at Lyric Opera of Chicago

The opening images of Richard Strauss’s Elektra in its new production at Lyric Opera of Chicago establish a tension persisting until the final chords of the score indeed signal a resolution of this familial tragedy. »

27 Oct 2012

Amsterdam’s Skin Show

Netherlands Opera is surely to be numbered among the world’s most adventurous international companies. »

27 Oct 2012

Lohengrin in San Francisco

Exquisite pianissimos, sumptuous climaxes, gigantic fortes, insistent horns, sugary winds, tremulous brass, blasting trumpets, whispering strings, pulsating oboes, more gigantic fortes, even more sumptuous climaxes. »

24 Oct 2012

Parsifal bears its own Cross

Parsifal, with its heavy dose of religiosity and strains of racial supremacy, remains at once the most mystical and historically burdened of Wagner’s operas.  »

23 Oct 2012

Don Giovanni at ENO

Some especially puerile, needlessly irritating, marketing, involving pictures of condom packets — oddly chosen in so many ways, since few people find contraceptive especially erotic, and Don Giovanni would seem an unlikely candidate to have employed them — had attended the run-up to this revival of Rufus Norris’s production of Don Giovanni.  »

21 Oct 2012

Mozart and Salieri — Young Artists at the Royal Opera House

Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.  »

20 Oct 2012

Where the Wild Things Are, LA Philharmonic

An opera called Where the Wild Things Are based on a libretto by Maurice Sendak may sound like a mere treat for children, but when paired with the music of Oliver Knussen, as performed by the Los Angeles Philharmonic, in a new and unique production by Netia Jones, it makes for a forty minute joy ride into fantasy land for adults as well.  »

19 Oct 2012

Lucia di Lammermoor at Arizona Opera

The role of Lucia in Donizetti’s Lucia di Lammermoor was written for Fanny Tacchinardi Persiani who lived from 1812 to 1867.  »

18 Oct 2012

Schumann: Under the influence

The first of four concerts in Jonathan Biss’s ‘Schumann: Under the influence’ series at the Wigmore Hall was a focused, intelligent and, at times, sensuous and illuminating, evening of music-making. »

17 Oct 2012

Albert Herring at Covent Garden

Labelled a “parable of oppression” by the late musicologist, Philip Brett, Britten’s provincial comedy, Albert Herring, is a tough nut to crack.  »