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Elsewhere

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.


OPERA TODAY ARCHIVES »

Performances

28 Jul 2014

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return. »

Recently in Performances

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31 Oct 2008

Lucia di Lammermoor at the MET

Mary Zimmerman’s unmusical production of Lucia certainly improves if you give it a cast of singers who know what Donizetti is about. »

31 Oct 2008

Don Giovanni at the MET

The fascination of Don Giovanni lies not only in the bejeweled score but in the interplay of its eight intriguing characters, each based on an ancient type, yet each somehow cut loose from the formula da Ponte molded so well.  »

24 Oct 2008

Falstaff at Pimlico Opera, Cadogan Hall

Pimlico Opera is based at the Grange in Hampshire, home of the Grange Park opera festival, but pre-dates its sister company by a decade and has been giving national tours of popular operas since the 1980s as well as doing some pioneering opera and music theatre projects in UK prisons. »

24 Oct 2008

Paris Opera’s new production of The Cunning Little Vixen has a lot going for it.

The good news (make that “great news”) is that conductor Dennis Russell Davies had total command over this ever-shifting composition, one minute lyrical and introspective, the next soaring and rhapsodic, the next percussive and agitated.  »

23 Oct 2008

Turandot without the trimmings

In recent years it’s the headgear of the ice-hearted princess that is often the major source of awe and excitement in productions of Puccini’s incomplete final opera.  »

23 Oct 2008

Cervantino pays homage to Catalonia

Joanot Martorell’s 1490 “Tirant lo Blanc” isn’t on anyone’s reading list these days, and that’s rather a shame, for it — the first Catalan novel — was a favorite book of Miguel de Cervantes.  »

21 Oct 2008

Idomeneo in San Francisco

Munich in 1781 was hardly the big city, not an enlightened Paris where Gluck had recently turned the opera world on its ear, not a European capital like Vienna where Italian operatic imperialism was unassailable.  »

21 Oct 2008

Alessandro Scarlatti: Il Trionfo della Santissima Vergine Assunta in Cielo

“One can easily imagine -- Berkeley professor Donald J. Grout wrote in 1979 -- a Scarlatti oratorio occasionally being sung in church or in concert […], but it is more difficult (though perhaps not quite impossible) to imagine a Scarlatti opera being staged at a modern opera house”.  »

21 Oct 2008

Partenope — English National Opera, London Coliseum

In this new staging of Handel's comic rarity for English National Opera, director Christopher Alden has chosen to tell the classical tale of amorous and political intrigue through the world of the artistic elite of the 1920s/30s.  »

21 Oct 2008

La Traviata at the Washington National Opera

Staging La traviata for an opera company these days is an experience akin to that of a symphony’s orchestra programming Mozart: a great idea fraught with disaster.  »

21 Oct 2008

Salome at the MET

We ought to consider – as opera’s current reigning soprano, Karita Mattila, has certainly considered, though I’m not so sure about director Jürgen Flimm – who, what, and how old Salome is.  »

21 Oct 2008

La Gioconda at the MET

It probably wasn’t intended as a symbol of anything in particular, but at the end of Act II, midway through the October 6 performance of La Gioconda, Enzo’s ship failed to burst into flames, thereby letting the curtain down most unsatisfactorily on what is usually one of the liveliest act finales in grand opera. »

21 Oct 2008

Le Roi d’Ys at Avery Fisher Hall

By the time he completed Le Roi d’Ys, in 1888, Edouard Lalo was sixty-five, approaching the end of a successful career as a chamber violinist.  »

21 Oct 2008

Manon at Lyric Opera of Chicago

A funny thing happened on the way to the convent. Manon Lescaut, a pretty little girl with a taste for pretty things, became sidetracked by a pretty young man.  »

08 Oct 2008

Cavalleria rusticana/Pagliacci — English National Opera, London Coliseum

For the opening of the 2008/09 season at ENO, Richard Jones has teamed up with two separate theatrical writers, Sean O'Brien and Lee Hall, to create unique new versions of the repertoire's most famous double bill. »

06 Oct 2008

The Barber of Seville — English National Opera, London Coliseum

It can be difficult to inject life into a production which has been a staple of a company’s repertoire for over twenty years. »

06 Oct 2008

Macbeth at Bavarian State Opera

If Munich’s new Macbeth production does anything, it stirs emotions and draws heated response. »

06 Oct 2008

On The Bonesetter’s Daughter

Decades ago a New Yorker cartoon showed a very little girl standing on tip-toe to return a book to a matronly librarian. »

03 Oct 2008

Die tote Stadt at San Francisco Opera

Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works. »

29 Sep 2008

Les Pêcheurs de perles at the Washington National Opera

The second offering of the current WNO season is a San Diego Opera production of Georges Bizet’s Pearl Fishers (1863). »

28 Sep 2008

Cool Cavalli at Covent Garden — La Calisto

Planet Earth laid waste by forces beyond our control, hunger and drought squeezing humanity out of existence whilst those in charge look on, laughing, lusting and concerned only with their own power struggles – does this sound familiar? »

22 Sep 2008

Paer’s Leonora from Bampton Classical Opera

Musically and dramatically Ferdinando Paer’s Leonora and Beethoven’s Fidelio might be said to belong respectively to pre- and post-revolutionary ages. »

22 Sep 2008

Puccini's Il Trittico at Los Angeles Opera

A few seasons back, Los Angeles Opera invited William Friedkin to direct a double-bill of Bartok's Bluebeard's Castle and Puccini's Gianni Schicchi. »

19 Sep 2008

Oresteia at Miller Theatre

Iannis Xenakis once stood among the leading composers of the avant-garde, mentioned in a (long, drawn-out, amelodic, taped and fed back) breath with Babbitt, Berio, Boulez, Henze, Penderecki and Stockhausen: internationally famous among academics, ignored or deplored by the concert-going public. »

16 Sep 2008

Prom 61 — Verdi's Requiem

The Verdi Requiem is a regular feature at the Proms, having appeared every few years in past decades, usually to full houses. »

16 Sep 2008

Prom 51 — St. John Passion

Sunday 24th August at the Proms promised a day dedicated to the music of Bach, beginning with an organ recital in the afternoon by Simon Preston and ending with a late-night performance of the first three of the six Cello Suites by Chinese cellist Jian Wang by way of a palate-cleanser. »

14 Sep 2008

The Second to Last Night of the Proms – Beethoven’s 9th Symphony

The Last Night of the Proms is notorious because it’s an excuse for jingoistic excess. »

09 Sep 2008

Prom 70 — St François d’Assise

Even a concert performance of Messiaen’s St François d’Assise could hardly fail to be an event. »

08 Sep 2008

“Great Performances” remembers Pavarotti — What remains is the voice.

Luciano Pavoritti died on September 6, 2007. The all-too-ample figure and the fables associated with him are already retreating from memory. »

08 Sep 2008

Cecilia Bartoli at the Musikverein Wien

Every time an artist walks onto the performance stage, he or she attempts to give the performance of their lives, focusing on everything they have learned prior to, and giving of themselves in an unprecedented way. »

07 Sep 2008

Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky

Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ? »

07 Sep 2008

The Coronation of Poppea

The startup of a new opera company is always cause for cheering; it is getting harder and harder (that is, more and more expensive) to do, especially in New York. »

07 Sep 2008

Prom 64 — Rattle conducts the Berlin Philharmonic in Messiaen’s Turangâlìla-symphonie

Because Turangâlìla is such a panorama, taking in Hollywood, Hindus and Peruvians, Wagner and Gurrelieder, it’s easy to assume it’s all surface Technicolor. »

05 Sep 2008

Shadowless in Amsterdam

The Netherlands Opera opened its season at the Muziektheater with a stunning new production of Die Frau ohne Schatten, setting the bar very high indeed for all that is to follow in the repertoire. »

04 Sep 2008

HANDEL: Belshazzar

Although performances of Handel’s more obscure large-scale works are relatively common in London, it is far less common that they are given in a venue as large and high-profile as the Royal Albert Hall, with a line-up of conductor and soloists that will attract a full house for a lengthy and static work on a hot summer evening. »

03 Sep 2008

JANÁČEK: Osud

Janáček’s music has already been well served in this year’s Proms in a memorable evening conducted by Boulez (reviewed on this site by Anne Ozorio). »

29 Aug 2008

A Muse for the Masses: Two Operatic Arenas in Review

With the revival of a 1876 Cleopatra by the local composer Lauro Rossi, a couple of world premieres in chamber opera and sacred oratorio (by Marco Tutino and Alberto Colla, respectively) and Verdi’s Attila canceled because of budget constraints, the 44th installment of the Macerata Festival will nevertheless be remembered as a bumper season, if one not particularly friendly to mainstream taste. »

29 Aug 2008

Wagnerian Score: Music 10; Drama 1

The venerable Wagner Festival in Bayreuth has never shied away from provocative productions. »

26 Aug 2008

Prom 34 — Puccini's Il Tabarro; Rachmaninov's Symphony no. 1

In a nod to the 150th anniversary of Puccini's birth, the Manchester-based BBC Philharmonic Orchestra visited the Proms with their chief conductor, Gianandrea Noseda, for a performance of the first opera of Il trittico. »

26 Aug 2008

“Ariadne auf Naxos” at Toronto Music Festival

“Only in the realm of the dead is everything pure.” »

21 Aug 2008

Prom 40 – Boulez conducts Janáček

Contrary to popular assumption, Janáček wasn’t “folkloric” per se, much as he loved his Moravian heritage. Boulez’s perceptive approach shows how inventive and original Janáček’s music can be. »

21 Aug 2008

Torre - Torre - Torre

I hoped it was not an omen of the evening to come at Torre del Lago’s Puccini Festival, when the audience was made to wait at the closed gates until about twenty minutes before curtain rise, listening to the orchestra and chorus a hundred yards away rehearse chunks of that night’s Edgar. »

19 Aug 2008

Prom 18 — L’Incoronazione di Poppea

Glyndebourne Festival Opera’s annual appearance at the Proms is always an eagerly-awaited event, but there is a varying degree of success with which the productions adapt from a full staging at Glyndebourne to a semi-staging suitable for the small platform and cavernous space of the Royal Albert Hall. »

19 Aug 2008

Singers from South Africa and Sweden win Seattle Wagner Competition

A soprano originally from South Africa and a tenor from Sweden sang their way to top honors in the 2008 International Wagner Competition staged by the Seattle Opera on August 16 in Marion Oliver McCaw Hall, the company's handsome home. »

18 Aug 2008

Lucky star over the Arena

“Stage direction should not follow fashion, for fashion is the sister of death”. »

17 Aug 2008

At Glyndbourne, more "Other Demons" than "Love"

The haunting, unsettling opening moments of the Glyndebourne premiere of Peter Eötvös’ “Love and Other Demons” promised much, with sensitive playing by the solo celesta and harp, flutter-tongued flutes, and jarring bass stings. »

30 Jul 2008

Don Carlo at Wiener Staatsoper

Star-studded casts graced end of the season performances at the Wiener Staatsoper, with two versions of Verdi’s Don Carlo on its menu. »