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Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.

And London Burned: in conversation with Raphaela Papadakis

Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Center for Contemporary Opera presents Jane Eyre (World Premiere)

Louis Karchin’s Jane Eyre, a full-length opera in three acts with a libretto by Diane Osen based on Charlotte Bronte’s novel, will receive its world premiere at The Kaye Playhouse (Hunter College) on Thursday, October 20, 7:30pm with a second performance on Saturday, October 22, 8pm. Jane Eyre is Karchin’s second opera, composed in 2014, following his critically acclaimed one-act comic opera Romulus.

A Venetian Double: English Touring Opera

Francesco Cavalli’s La Calisto was the composer’s fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.

Boston Early Music Festival announces the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director

Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Walter Braunfels : Orchestral Songs Vol 1

New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.



Jamie Barton’s Wigmore Hall debut
24 Oct 2016

Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition. »

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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. »

12 Feb 2013

Radamisto at Barbican Hall

Handel's Radamisto HWV 12a confirms the Barbican Hall as one of the finest places for baroque in London. Superb performances from David Daniels, Luca Pisaroni, and Patricia Bardon, with Harry Bicket conducting The English Concert from the harpsichord »

11 Feb 2013

Palm Beach Opera Celebrates New Season

Palm Beach Opera opened its new season with the opera that began it all, La Traviata.  »

11 Feb 2013

Bernarda Fink Residency, Wigmore Hall

For the first of her two February recitals at the Wigmore Hall, the Argentinean mezzo-soprano Bernarda Fink was joined by the Hugo Wolf Quartett in an eclectic, Italian-themed programme in which singer and instrumentalists sculpted diverse and beautiful musical vistas and communicated a remarkably coherent, shared vision. »

11 Feb 2013

Erik Satie, Socrate and Igor Stravinsky. Renard and other works

This concert was part of a greater weekend of concerts at the Southbank Centre looking at Paris during the second and third decades of the twentieth century, the weekend itself part of the year-long Rest is Noise season.  »

10 Feb 2013

Joyce DiDonato: Drama Queens

Joyce DiDonato brought her Drama Queens tour to the Barbican Hall last night, 6 February 2012. Accompanied by Il Complesso Barocco, directed by Dmitry Sinkovsky, she enabled us to hear a wide range of arias by mainly Italian baroque composers from Monteverdi to Handel, by way of Porta, Cesti, Orlandini and Hasse. »

10 Feb 2013

Die Entfûhrung aus dem Serail in Montpellier

The fearsome Ottoman Turks had threatened the Austrian borders for centuries. But Mozart’s little singspiel makes light of this truly serious situation, and offers a quite enlightened resolution for the conflict as well. »

10 Feb 2013

Dialogues of the Carmelites in Toulon

Boasting one of France’s grandest opera houses (said to be the model for Paris’ Opéra Garnier) Toulon hosts a season of five operas — Aida, Butterfly and Flute are hand in hand with Carmen and, yes, Dialogues des carmélites.  »

07 Feb 2013

Eugene Onegin at the Royal Opera House

Kasper Holten’s directorial debut in the Royal Opera House begins with silence.  »

06 Feb 2013

Fille du Regiment from San Diego Opera

Born to a very poor family in 1797, Gaetano Donizetti was lucky enough to become the pupil of Johann Simone Mayr, the Maestro di Capella of his native city, who recognized his talent and made sure he received appropriate instruction.  »

06 Feb 2013

Tosca by Arizona Opera

The libretto by Luigi Illica and Giuseppe Giacosa for Giacomo Puccini’s opera Tosca is based on Victorien Sardou’s French play, La Tosca.  »

06 Feb 2013

Amsterdam: Tell Hits a Bulls Eye

With a visually beautiful and dramatically honest staging, Netherlands Opera has made as compelling a case as I would imagine possible for Rossini’s grand opera Guillaume Tell. »

02 Feb 2013

Der Kaiser von Atlantis at the Staatsoper Berlin

Recent seasons have seen a surge in so-called ‘Holocaust operas,’ from Peter Androsch’s Spiegelrund, which premiered in Vienna last week, to Mieczysław Weinberg’s The Passenger, unveiled with a half-century of delay in Bregenz in 2010.  »

02 Feb 2013

A Timeless Hänsel und Gretel in Chicago

In remounting its 2001 production of Engelbert Humperdinck’s Hänsel und Gretel Lyric Opera of Chicago has demonstrated the timeless nature of the score and narrative as well as the ingenuity of the production with its thoughtful and touching updating to a twentieth-century milieu.  »

01 Feb 2013

Maria Stuarda at the Met

The Met’s opulent and well-sung Maria Stuarda cannot overcome its insipid libretto. »

31 Jan 2013

Soile Isokoski - Wigmore Hall - Sallinen

Soile Isokoski and Maria Viitasalo made a welcome return to theWigmore Hall, London. Their recital was a masterclass in what singing really should be about: not simply sound production, but the expression of meaning.  »

23 Jan 2013

Pelléas et Mélisande in Nice

Pelléas et Mélisande, in t-shirts and jeans, were out riding bicycles. They came upon a fountain. You know what happened. »

23 Jan 2013

Nash Ensemble, Wigmore Hall - Warlock, Britten

Surveying British chamber and instrumental music written between the 1890s and WWII, the Nash Ensemble’s Wigmore Hall residency series, Dreamers of Dreams, has illuminated the creativity and originality of British musical life during this period, revealing the shared and the idiosyncratic preoccupations of composers; the intertwined biographies of musicians; the influence of key individual performers on repertoire, style and idiom; the dialogue between old and new; and the prevailing shadows of war and irreversible change. »

20 Jan 2013

San Diego Opera new season 2013

The New Year 2013 is here and San Diego Opera will open its season at the end of this month. The company will present four well known operas: Gaetano Donizetti's The Daughter of the Regiment (La Fille du Regiment), Camille Saint-Saëns' Samson and Delilah, Ildebrando Pizzetti's Murder in the Cathedral (Assassinio nella Cathedrale) and Giuseppe Verdi's Aida along with a Mariachi opera: Cruzar la Cara de la Luna, (To Cross the Face of the Moon). »

20 Jan 2013

Sir Harrison Birtwistle The Minotaur ROH 2013

If, first time around, in 2008, The Minotaur offered the obvious excitement of the premiere, it was now noteworthy how quickly it had settled into repertory status. Not that it has yet been performed elsewhere than Covent Garden, though it should be as a matter of urgency, but that its 2013 outing proceeded with the apparent ease one might expect of, say, The Magic Flute or Carmen. That is surely testament both to the excellence of the performances we heard as well as to the stature of Birtwistle’s opera itself. »

19 Jan 2013

Baroque treasures at the Barbican, London

The Barbican is going have a bit of a baroque moment next month. Joyce DiDonato will be bringing her Drama Queens programme, then there will be complete performances of Handel's Radamisto and Lully's Phaeton.  »

16 Jan 2013

A Noteworthy Chicago Revival of Don Pasquale

In its recent run of Gaetano Donizetti’s Don Pasquale Lyric Opera of Chicago has taken the 1973 production from Covent Garden, via Dallas Opera, and revivified it with the efforts of an excellent cast and the local directorial debut of British bass-baritone Sir Thomas Allen.  »

15 Jan 2013

L’Italienne à Alger in Marseille

Once a mainstay of the repertory L’Italiana in Algeri now usually gives way to Il Turco in Italia when an opera company wants to give Il barbiere di Sivigllia and La cenerentola a rest.  »

10 Jan 2013

Echoes of Venice

The opening concert of the Wigmore Hall’s spring season exemplified the high standards of intelligent musicianship and imaginative programming so typical of the Hall’s artists. Soprano Carolyn Sampson and theorbo player Matthew Wadsworth presented a thoughtful, inventive programme, ‘Echoes of Venice’, alternating tender and impassioned songs of love with striking instrumental pieces.  »

09 Jan 2013

Hugo Wolf Songbooks, Wigmore Hall, Kirchschlager, Henschel, Drake

Julius Drake's latest Hugo Wolf Songbooks recital at the Wigmore Hall featured Angelika Kirchschlager and Dietrich Henschel. These singers have very different voices indeed, so Drake's programme made the most of the contrast. »