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Elsewhere

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Janáček, The Makropulos Case, Bavarian State Opera

Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.

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’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

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.


OPERA TODAY ARCHIVES »

Performances

28 May 2016

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months). »

Recently in Performances

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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.  »

12 Oct 2012

The Barber of Frankfurt

Frankfurt Opera’s adventurous season had a notable beginning with a luminous staging of Samuel Barber’s seldom heard Vanessa. »

12 Oct 2012

Moby Dick in San Francisco

Forget Herman Melville, forget struggling with deep human complexities. At least those that possessed nineteenth century Americans. »

10 Oct 2012

I Due Foscari, LA Opera

Lucky Angeleno opera lovers! In anticipation of the Giuseppe Verdi’s bicentennial (it will occur in 2013) Los Angeles Opera treated its patrons to a unique and musically thrilling performance of I Due Foscari, the sixth of the composer’s twenty-six operas.  »

10 Oct 2012

Die Zauberflöte, ENO

‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme.  »

09 Oct 2012

Don Giovanni, LA Opera

In our era of minimal cultural restraints Don Giovanni has been the opera of choice for presenting dissolution on stage. Rape, oral sex, drug use and urination have been portrayed to Mozart's melodies.  »

09 Oct 2012

I Capuleti e i Montecchi in San Francisco

Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley. »

05 Oct 2012

Stockhausen’s Mittwoch, Birmingham Opera Company

The first performances of Stockhausen’s Mittwoch — the world premiere took place on Mittwoch 22 August, the composer’s birthday, whilst I attended the last of four performances on Samstag — could hardly have failed to be an ‘event’ of the highest order: the last of the Licht cycle, in duration roughly twice the length of Wagner’s Ring, to receive its first full performance, though it was the sixth of the seven days to be composed.  »

05 Oct 2012

Blaise le savetier and L’amant jaloux by Bampton Classical Opera

“Two classic French comedies, one wardrobe…” was Bampton Classical Opera’s billing for this amusing double bill and, with typically wry wit, director Jeremy Gray duly placed a shabby-chic armoire centre-stage and made it the location of some Cherubino-Countess-style confusions and Goldoni-esque farce. »

05 Oct 2012

Frank Bridge Song Focus

Frank Bridge (1879-1941) was a professional violinist and violist, a talented conductor, a versatile composer and skilled teacher; yet he remains something of an enigma and his music relatively unknown. »

05 Oct 2012

“Dreamers of Dreams”

During the years from 1890 to 1940, the so-called ‘land without music’ witnessed a remarkable outpouring of chamber and instrumental music.  »

05 Oct 2012

Mozart’s Ghost finds its Way through Das Labyrinth

W.A. Mozart, despite a historically antagonistic relationship with his city of birth, retains an omnipresence in Salzburg that emerges in full force with each iteration of the illustrious summer festival.  »