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Elsewhere

Bampton Classical Opera Young Singers' Competition 2019

Applications will open on March 1, 2019 for Bampton Classical Opera’s fourth biennial Young Singers’ Competition. The competition was launched in 2013 to celebrate the company’s 20th birthday. It is now well established and identifies, rewards and nurtures some of the country’s most talented young professional singers aged 21-32 and their accompanists.

Petrenko Directs Beethoven’s Missa Solemnis

The quick rise to prominence and thin catalog of recordings by Russian conductor Kirill Petrenko, outgoing General Music Director of the Bayerische Staatsoper and incoming chief conductor of the Berlin Philharmonic, renders each of his forays into the classic repertoire significant. Last Sunday morning, the Bayerisches Staatsorchester gave the first of three performances of Beethoven’s Missa Solemnis under his direction.

Stéphanie D’Oustrac: Sirènes

After D’Oustrac’s striking success as Cassandre in Berlioz Les Troyens, this will reach audiences less familiar with her core repertoire in the baroque and grand opéra. Berlioz’s Les nuits d’été and La mort d’Ophélie, Wagner’s Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D’Oustrac’s timbre lends a lucid gloss which makes them feel fresh and pure.

Faust in Marseille

We sat, bewildered, all of us, watching (enduring) Gounod’s sweet little tear jerker as a nasty drug trip. Except for the Australian Marguerite it was an all French cast and they all gamely played along, the sophisticated verse of Offenbach’s librettists Jules Barbier and Michel Carré clearly sailing out over an abrasive pit.

Down in flames: Les Troyens, Opéra de Paris

Hector Berlioz’s Les Troyens with Philippe Jordan conducting the Opéra National de Paris. Since Les Troyens headlined the inauguration of Opéra Bastille 30 years ago, we might have expected something special of this new production. It should have been a triumph, with such a good conductor and some of the best singers in the business. But it wasn't.

Luminous Mahler Symphony no.3: François-Xavier Roth, Gürzenich-Orchester Köln

Gustav Mahler’s Symphony No.3 with François-Xavier Roth and the Gürzenich-Orchester Köln, now at last on CD, released by Harmonia Mundi, after the highly acclaimed live performance streamed a few months ago.

Andrew Davis conducts Berlioz’s L’enfance du Christ at Hoddinott Hall

A weekend commemorating the 150th anniversary of the death of Hector Berlioz (1803-1869) entitled Berlioz: The Ultimate Romantic was launched in style from Cardiff’s Hoddinott Hall with a magnificent account of L’enfance du Christ (Childhood of Christ). The emotional impact of this ‘sacred trilogy’ seemed to gain further weight for its performance midway between Christmas and Easter, neatly encapsulating Christ’s journey from birth to death.

Love Songs: Temple Song Series

In contrast to the ‘single-shaming’ advertisement - “To the 12,750 people who ordered a single takeaway on Valentine’s Day. You ok, hun?” - for which the financial services company, Revolut, were taken to task, this Temple Music recital programme on 14th February put the emphasis firmly on partnerships: intimate, impassioned and impetuous.

Philip Glass: Akhnaten – English National Opera

There is a famous story that when Philip Glass first met Nadia Boulanger she pointed to a single bar of one of his early pieces and said: “There, that was written by a real composer”. Glass recalls that it was the only positive thing she ever said about him

Rachvelishvili excels in ROH Orchestra's Russian programme

Cardboard buds flaming into magic orchids. The frenzied whizz of a Catherine Wheel as it pushes forth its fiery petals. A harvest sky threshed and glittering with golden grain.

Independent Opera & Britten Sinfonia celebrate bicentenary of Queen Victoria & Prince Albert's births

To celebrate the bicentenary of Queen Victoria and Prince Albert’s births in 2019, Independent Opera (IO) and Britten Sinfonia present the first public performance of Joby Talbot’s new cantata A Sheen of Dew on Flowers on Thursday 11 April at the Barbican.

English National Opera to reprise its 5* production of Paul Bunyan at the historic Alexandra Palace Theatre

Following its sell-out success at Wilton’s Music Hall in September 2018, English National Opera’s acclaimed production of Benjamin Britten’s Paul Bunyan will be revived in May at the equally historically remarkable venue of Alexandra Palace Theatre.

Glyndebourne celebrates 25 years of its award-winning opera house in 2019

Unveiled in 1994, the new auditorium increased capacity by 50% to 1,200 seats and significantly improved backstage facilities. This allowed more people to enjoy world-class opera at Glyndebourne and enabled the company to stage bigger and more ambitious productions in the years that followed.

Lucrèce Borgia in Toulouse

This famed murderess worked her magic on Toulouse’s Théâtre du Capitole stage, six dead including her beloved long lost son. It was Victor Hugo’s carefully crafted 1833 thriller recrafted by Italian librettist Felice Romano that became Donizetti’s fragile Lucrezia Borgia.

Amanda Majeski makes a stunning debut at Covent Garden in Richard Jones's new production of Kát’a Kabanová

How important is ‘context’, in opera? Or, ‘symbol’? How does one balance the realism of a broad social milieu with the expressionistic intensity of an individual’s psychological torment and fracture?

Returning to heaven: The Cardinall's Musick at Wigmore Hall

The Cardinall’s Musick invited us for a second time to join them in ‘the company of heaven’ at Wigmore Hall, in a recital that was framed by musical devotions to St Mary Magdalene and the Virgin Mary.

Diana Damrau’s Richard Strauss Residency at the Barbican: The first two concerts

Listening to these two concerts - largely devoted to the music of Richard Strauss, and given by the soprano Diana Damrau, and the superlative Bavarian Radio Symphony Orchestra in the second - I was reminded of Wilhelm Furtwängler’s observation that German music would be unthinkable without him.

De la Maison des Morts in Lyon

The obsessive Russian Dostoevsky’s novel cruelly objectified into music by Czech composer Leos Janacek brutalized into action by Polish director Krzysztof Warlikowski beatified by Argentine conductor Alejo Pérez.

A First-Ever Recording: Benjamin Godard’s 1890 Opera on Dante and Beatrice

The composer Benjamin Godard (1849–95) is today largely unknown to most music lovers. Specialist collectors, though, have been enjoying his songs (described as “imaginative and delightful” by Robert Moore in American Record Guide), his Concerto Romantique for violin (either in its entirety or just the dancelike Canzonetta, which David Oistrakh recorded winningly decades ago), and some substantial chamber and orchestral works that have received first recordings in recent years.

La Nuova Musica perform Handel's Alcina at St John's Smith Square

There was a full house at St John’s Smith Square for La Nuova Musica’s presentation of Handel’s Alcina.


OPERA TODAY ARCHIVES »

Performances

Kirill Petrenko [Photo by Monika Rittershaus courtesy of Berliner Philharmoniker]
20 Feb 2019

Petrenko Directs Beethoven’s Missa Solemnis

The quick rise to prominence and thin catalog of recordings by Russian conductor Kirill Petrenko, outgoing General Music Director of the Bayerische Staatsoper and incoming chief conductor of the Berlin Philharmonic, renders each of his forays into the classic repertoire significant. Last Sunday morning, the Bayerisches Staatsorchester gave the first of three performances of Beethoven’s Missa Solemnis under his direction. »

Recently in Performances

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16 Jul 2017

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.  »

15 Jul 2017

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice. »

13 Jul 2017

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd. »

11 Jul 2017

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.  »

11 Jul 2017

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address. »

11 Jul 2017

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept. »

11 Jul 2017

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.  »

11 Jul 2017

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone! »

11 Jul 2017

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened? »

10 Jul 2017

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.  »

10 Jul 2017

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate? »

09 Jul 2017

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.  »

09 Jul 2017

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.  »

08 Jul 2017

Dulwich Opera’s Carmen

Dulwich Opera Company’s Carmen was a convincingly successful show.  This was mainly due to succinct musical direction and rigorous dramatic direction.  It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye. »

08 Jul 2017

Franz Schreker: Die Gezeichneten

There is a host of fine operas out there languishing more or less unperformed (in some cases, quite unperformed). A few of them might even qualify as ‘great’. (Feel free to remove inverted commas, should that be your thing.) Franz Schreker’s Die Gezeichneten, whatever its proponents might claim, is certainly not one of those: not even close.  »

08 Jul 2017

Erismena at the Aix Festival

An incredible feat! The Aix Festival opened five operas, all new productions, on five consecutive evenings. The fifth was Francesco Cavalli’s 1655 drama per musica, Erismena! The compulsive intellectualism of Monteverdi’s L’incoronazione di Poppea (1643) long since thrown in the canals, Cavalli dissolves Venetian opera into purest, mindless hedonism.  »

07 Jul 2017

Fairytale Spectacle: Turandot at the ROH

Andrei Serban’s 1984 production of Turandot has returned to the Royal Opera House, for its sixteenth revival, and it remains a visual feast. The principals’ raw silk costumes, intricately embroidered and patterned, splash vibrant primary hues against the shadowy tiers which house the red-masked Chorus to the rear. »

05 Jul 2017

Fidelio at Princeton Festival

Fidelio is a great opera, but not an easy one to perform.  Much of the music is stirring, including some among the most profoundly moving passages in all opera. The revolutionary political idealism that underlies the opera is inspiring, particularly to those in German-speaking lands, where it inspires reverence. »

05 Jul 2017

Carmen at the Aix Festival

There were four simultaneous Carmen — those of Prosper Merimee, Georges Bizet, Dimitri Tcherniakov and Pablo Heras-Casado. »

04 Jul 2017

Pinocchio in Aix (World Premiere)

Back to the operatic days when the book took top billing and the composer's name was in the fine print. Collodi’s tale is an epic journey wrapped in sophisticated innocence that leaves you probably more disgusted than anything else — Collodi’s Pinocchio is not a charming child. »

04 Jul 2017

Franz Schreker Die Gezeichneten, Bayerische Staatsoper

Franz Schreker Die Gezeichneten from the Bayerische Staatsoper, Munich, conducted by Ingo Metzmacher, easily the most rewarding full performance ever. Metzmacher gets Schreker - revealing his modernity and originality. There are many kinds of "modern". The idea that 20th-century music can only be atonal/tonal, or dissonant /romantic, is nonsense in itself. Schreker was a highly original composer, very much a man attuned to the creative ferment of his time, fuelled as it was by new ideas and social change.  »

03 Jul 2017

Natalya Romaniw: 'one of the outstanding sopranos of her generation’

There can hardly be a dry eye in the house, at the ‘Theatre in the Woods’ at West Horsley Place - Grange Park Opera’s new home - when, in Act 3 of Janáček's first mature opera, Natalya Romaniw’s Jenůfa realises that the tiny child whose frozen body has been discovered under the ice is her own dead son. »

02 Jul 2017

WNO's Butterfly at the Birmingham Hippodrome

WNO’s summer tour of Joachim Herz’s 1978 production of Madame Butterfly, revived by Sarah Crisp, arrived at the Birmingham Hippodrome this week. A ‘traditional’ assemblage of raised dwellings and sliding Shoji screens, Reinhart Zimmermann’s sepia set evokes the dulling of oriental grace by Western mundanity. For the dull taupe curtains which frame the sides and room of the set drape their traditional sprinkling of willow and bamboo like a bleached Hokusai wave. The effect is suffocating, blocking out any sense of a world outside Cio-Cio-San’s abode. »

02 Jul 2017

The sands of time: WNO's Rosenkavalier in Birmingham

Time, sands, mists: all slip through one’s fingers - intangible and irretrievable. Olivia Fuchs’ production of Strauss’s Der Rosenkavalier for WNO communicates the opera’s message in a clear visual narrative of subtlety and dramatic eloquence.  »

01 Jul 2017

A French double-bill at the Royal College of Music

One might expect a satire on sexual stereotypes penned in 1917 to feel a bit dated in 2017. But, in these days of gender fluidity, with science making biological choice a free-for-all, and with Margaret Atwood’s The Handmaid’s Tale having just hit US and UK television screens, Poulenc’s gender-bending Les mamelles de Tirésias - based on Apollinaire’s surrealist play and first seen at the Opera Comique in 1947 - proved a timely choice for the first half of RCM’s summer double bill. »

27 Jun 2017

Saint Louis Butterfly Soars

Opera Theatre of Saint Louis knew to trust the surefire potential of Madame Butterfly, and pretty much stayed out of its way.  »

27 Jun 2017

Saint Louis: Gordon’s Revised Grapes

If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis. »

27 Jun 2017

Titus Lightens Up in Saint Louis

Mozart’s opera seria, La Clemenza di Tito, performed in English at Opera Theatre of Saint Louis did something I did not think possible. »

27 Jun 2017

Il turco in Italia: Garsington Opera

Martin Duncan's production of Rossini's Il turco in Italia debuted in 2011, only the second production to be performed in Garsington Opera's then new home at Wormsley. Revived for the first time on 25 June 2017, David Parry was again conducting with Quirijn de Lang as Selim, Geoffrey Dolton as Don Geronio and Mark Stone as Prosdocimo returning to their roles, plus Sarah Tynan as Fiorilla, Katie Bray as Zaide, Luciano Botelho as Narciso and Jack Swanson as Albazar. Designs were by Francis O'Connor, with lighting by Mark Jonathan and movement by Nick Winston. »

27 Jun 2017

Glyndebourne's wartime Ariadne auf Naxos

It’s country-house opera season, and Glyndebourne have decided it’s time for a return of Katharina Thoma’s country-house-set Ariadne auf Naxos, first seen in 2013. Thoma locates Strauss’s opera-about-opera in a 1940s manor house which has been sequestered as a military hospital, neatly alluding to Glyndebourne’s own history when it transformed itself into a centre for evacuees from east London and the Christie children’s nursery became a sick bay.  »

25 Jun 2017

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial. »

25 Jun 2017

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.  »