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Elsewhere

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

An interview with Tobias Ringborg

I arrive at the Jerwood Space, where rehearsals are underway for Garsington Opera’s forthcoming production of Idomeneo, to find that the afternoon rehearsal has finished a little early.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

Opera Las Vegas Announces Full Production of Carmen

Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Bampton Classical Opera 2016

A Double-Bill of Divine Comedies

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

A Conversation with Sir Nicholas Jackson

With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.


OPERA TODAY ARCHIVES »

Performances

25 May 2016

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’. »

Recently in Performances

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11 May 2013

Rigoletto at Lyric Opera of Chicago

Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.  »

11 May 2013

Britten Sinfonia with Ian Bostridge

Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams. »

10 May 2013

Aida, Manitoba Opera

Poor Aida! She never seems to have anything go her way.  »

05 May 2013

Superlative singing: Don Carlo, Royal Opera House

Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music. »

04 May 2013

Sarah Connolly: French Song at Wigmore Hall

The big names were absent: Duparc, D’Indy, Debussy, Ravel … and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.  »

03 May 2013

Rare restoration: Handel’s Esther 1720

Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.  »

01 May 2013

The Damnation of Faust, London

Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.  »

28 Apr 2013

Elizabeth Connell Memorial Concert, St John's Smith Square

St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.  »

25 Apr 2013

Aida with all the Trimmings, Even a Blue Silk Elephant!

With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.  »

23 Apr 2013

Die Zauberflöte, Royal Opera

Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry. »

12 Apr 2013

The Marriage of Figaro Ends Season at Arizona Opera

Wolfgang Amadeus Mozart's opera The Marriage of Figaro has a libretto by Lorenzo daPonte based on the French play La folle journée, ou le Mariage de Figaro (The Crazy Day or the Marriage of Figaro) by Pierre Caron de Beaumarchais (1732-1799).  »

11 Apr 2013

Baden’s Flute Goes Barefoot in the Park

For its world class Easter Festival, Baden-Baden mounted a Die Zauberflöte that owed more to the grey penitential doldrums of Lent than to the unbridled jubilance of re-birth. »

11 Apr 2013

Bonjour M. Gauguin in Berkeley

Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin. »

11 Apr 2013

Mahler Lieder, Wigmore Hall

In the first of pianist Julius Drake’s three-part series, ‘Perspectives’, our gaze was directed at Gustav Mahler’s eclectic musical responses to human experiences: from the trauma and distress of anguished love to the sweet contentment of true friendship, from the agonised introspection of the artist to the diverse dramas of human interaction. »

10 Apr 2013

Cinderella Goes to the Opera

The Los Angeles opera company marketed its spring production of Rossini's La Cenerentola as Cinderella though there is no opera by that name. The libretto of La Cenerentola is not the Cinderella story we know.  »

05 Apr 2013

Die Walküre, Paris

The Paris Opéra has not staged a full Ring Cycle since 1957, but its current season will conclude with a correction of this grand operatic gap.  »

05 Apr 2013

Manon Lescaut, Washington National Opera

Washington National’s 2012-2013 season continues this spring with a production of Giacomo Puccini’s first successful opera.  »

05 Apr 2013

Murder in the Cathedral at San Diego Opera

Italian composer Ildebrando Pizzetti (1880-1968) wrote more than fifteen operas, of which almost none are staged today.  »

04 Apr 2013

The Firework-Maker’s Daughter, London

The Opera Group’s latest event, The Firework-maker’s Daughter by David Bruce and Glyn Maxwell is currently on tour and arrived at the Royal Opera House’s Linbury Theatre last night (3 April 2013).  »

03 Apr 2013

The Gospel According to the Other Mary, Los Angeles

Composer John Adams’ smashing, crashing and poignant The Gospel According to the Other Mary, created in collaboration with Peter Sellars, made its second appearance at Disney Hall with the Los Angeles Philharmonic Orchestra.  »

31 Mar 2013

Nabucco, Royal Opera House, London

“Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s’ammanti!”. Verdi’s Nabucco at the Royal Opera House respected the spirit of the opera. »

26 Mar 2013

Flying Dutchman at LA Opera

The Los Angeles Opera company opened its spring season in celebration of Richard Wagner's bicentennial with the composer's The Flying Dutchman, written in 1843.  »

26 Mar 2013

Cruzar la Cara de la Luna

Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.  »

20 Mar 2013

I Lombardi, UC Opera London

Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.  »

19 Mar 2013

Francesca da Rimini at the Met

Sets and costumes are gorgeous and the singing is good, but the libretto’s slow and continuously interrupted dramatic action grows tiresome »

18 Mar 2013

Götterdämmerung at the Staatsoper Berlin

In the final of scene of Götterdämmerung in a new production at the Staatsoper Berlin, Brünnhilde appears in a flowing pink gown just as the music has modulated and penetrates the hall of the Gibichungs, represented by rows of glowing translucent boxes that preserve the dismembered limbs of their victims.  »

15 Mar 2013

Robert Carsen’s Falstaff, Paris

With Robert Carsen’s production of Falstaff almost inescapably making the rounds of the world's operatic stages, it is well worth it to take in another production altogether.  »

15 Mar 2013

Cenerentola at Paris Opéra

Rossini's “other” comic masterpiece of 1817 came into the world only a few weeks after the much better known The Barber of Seville. But it has had a place in the repertoire since its premiere.  »

12 Mar 2013

Wagner’s Die Meistersinger in Chicago

Productions of Richard Wagner’s Die Meistersinger von Nürnberg are ambitious undertakings, if only for the number of performers involved and the duration of orchestral and vocal commitment.  »

11 Mar 2013

The Verdi Requiem in Naples

San Francisco and Naples have much in common these days — streets with potholes, ever more gourmet pizzerias, homeless, etc., and, yes, Nicola Luisotti.  »

11 Mar 2013

Il Trovatore at Arizona Opera

Giuseppe Verdi and his librettist, Salvatore Cammarano, based the opera on Antonio García Gutiérrez’s Spanish play El Trovador.  »

10 Mar 2013

George Benjamin: Written on Skin

George Benjamin's Written on Skin sinks deeply into the psyche. A Protector wants brightly coloured images to display his power and wealth.  »

09 Mar 2013

Lully’s Phaeton at the Barbican, London

Jean-Baptiste Lully's Phaeton is rarely heard live in Britain, so this performance with a superlative cast was a special occasion. It was part of the Barbican Hall's continuing series of baroque, and particularly French baroque operas. »

06 Mar 2013

Barber by ENO

ENO’s advertising emphasises the ‘25th anniversary year’ of Jonathan Miller’s staging of The Barber of Seville. It holds the stage well enough without offering any especial insight — at least by now.  »

05 Mar 2013

Wagner Parsifal at the Met

This prioduction of Wagner's Parsifal, directed by François Girard, premiered in Lyons last year. The Met, being a far wealthier house, was able to assemble a truly spectacular cast: Jonas Kaufmann, René Pape, Katarina Dalayman, Peter Mattei and Evgeny Nikitin. Success guaranteed, even if the production is European and modern. These performances set new benchmarks. This Parsifal will be the stuff of legend for decades to come. »

05 Mar 2013

An Interview with Virginia Zeani

Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).  »

05 Mar 2013

Tosca, Royal Opera

Puccini’s “shabby little shocker”, to quote Kerman, does not invite subtlety. For those who feel that opera — a hybrid art form encompassing all the arts and embracing all of life and love, transfiguration and tragedy — is ideally suited to depicting the excesses of human ecstasy and suffering, Tosca epitomises the immoderations of the genre. »

05 Mar 2013

Bernarda Fink and the Italian Baroque

Argentinean mezzo-soprano Bernarda Fink continued her series residency at the Wigmore Hall with an unusual programme of Italian baroque works, partnered by the Academy of Ancient Music, led by violinist Rodolfo Richter.  »

02 Mar 2013

Eugene Onegin, Royal Opera

When opera companies arrange their seasonal schedules, one wonders how much thought they give to Valentine’s Day. If it falls in the midweek, it is potentially a very propitious day for getting people out: that is, if the opera is right. »

26 Feb 2013

Rigoletto at the Met

Michael Mayer’s glitzy neon lights production, set in Rat Pack-era Sin City, proves a fitting backdrop for an opera about a curse »

26 Feb 2013

Munich’s Rambunctious Ring

Bavarian State Opera’s recent staging of Der Ring des Nibelungen was often a restless, even reckless affair, but there is no denying its substantial musical assets.  »

21 Feb 2013

Hugo Wolf, Wigmore Hall

Fun and Hugo Wolf ? Wolf's songs are the epitome of art song, due great reverence. But they're also vibrant with good-hearted wit. This latest concert in Julius Drake's ongoing "Perspectives" series at the Wigmore Hall brought together Sophie Daneman, Ian Bostridge and Julius Drake, all of whom have been working together for many years. The chemistry was almost palpable.  »

17 Feb 2013

Charpentier’s Medea at ENO

In 1704, 11 years after its first performance in 1693 before the royal court of Louis XIV, and 17 years after the death of Lully — and at a time when the relative merits of respective French and Italian aesthetics were constantly and fiercely being debated — Marc-Antoine Charpentier’s Médée was condemned by the ‘Lullist’ faction, who were determined to defend their leader’s guardianship of the tragédie en musique, as an ‘abomination’: hard, dry and characterised by excess. »

17 Feb 2013

Stuttgart: Too Hot to Handel

With its staging of Alcina, Stuttgart Opera seems to set out to prove that George Friedrich Handel can be all ‘sexypants.’  »

14 Feb 2013

Elektra in Marseille

Sadistic revenge and sadistic challenge in equal parts. You know the story — if Oreste had not slaughtered his mother Elektra would have. And did over and over in nearly two hours of raving about killing her mother. Elektra is one of the repertory's more beloved operas. »