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Elsewhere

Schoenberg's Gurrelieder at the Proms - Sir Simon Rattle

Prom 46: Schoenberg's Gurrelieder with Simon Rattle and the London Symphony Orchestra, Simon O'Neill, Eva-Maria Westbroek, Karen Cargill, Peter Hoare, Christopher Purves and Thomas Quasthoff. And three wonderful choirs - the CBSO Chorus, the London Symphony Chorus and Orfeó Català from Barcelona, with Chorus Master Simon Halsey, Rattle's close associate for 35 years.

Dunedin Consort perform Bach's St John Passion at the Proms

John Butt and the Dunedin Consort's 2012 recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service.

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.


OPERA TODAY ARCHIVES »

Performances

Prom 46: Sir Simon Rattle conducts the LSO Symphony Orchestra and Chorus in Schoenberg’s <em>Gurrelieder</em>
21 Aug 2017

Schoenberg's Gurrelieder at the Proms - Sir Simon Rattle

Prom 46: Schoenberg's Gurrelieder with Simon Rattle and the London Symphony Orchestra, Simon O'Neill, Eva-Maria Westbroek, Karen Cargill, Peter Hoare, Christopher Purves and Thomas Quasthoff. And three wonderful choirs - the CBSO Chorus, the London Symphony Chorus and Orfeó Català from Barcelona, with Chorus Master Simon Halsey, Rattle's close associate for 35 years.  »

Recently in Performances

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26 Jun 2011

Two Boys, ENO

You would have had to be deaf and blind — or perhaps just a very wise monkey — not to have been aware that a young American composer called Nico Muhly was about to open at the English National Opera in London last night with a work called Two Boys.  »

26 Jun 2011

Viva Vivaldi — Garsington Opera 2011

Garsington Opera — in its superb new home on the Wormsley estate in rural Oxfordshire — has yet again confirmed the merit of its decision to promote Vivaldi’s long-ignored operas.  »

23 Jun 2011

The Cunning Little Vixen, New York

One of Richard Wagner’s most enduring contributions to music history is a concept known as gesamtkunstwerk.  »

23 Jun 2011

Peter Grimes, Covent Garden

Willy Decker’s production of Peter Grimes, first seen at Covent Garden in 2004, should perhaps be renamed The Borough.  »

21 Jun 2011

Swiss Odyssey

A funny thing happened on the way to Anna Bolena… »

20 Jun 2011

Geneva’s Juicy Oranges

Need something remedial for “what ails you?” »

20 Jun 2011

Boston Early Music Festival: Niobe, Regina di Tebe

The Boston Early Music Festival (hereinafter BEMF) has grown up.  »

20 Jun 2011

Don Pasquale, Opera Holland Park

As it turned out, it was a mild and mainly dry evening.  »

15 Jun 2011

Israel Opera cuts wide swath at festival

Israel Opera’s summer festival grew astonishingly in the year following its 2010 inaugural season.  »

14 Jun 2011

Simon Boccanegra, ENO

It would seem that in his preparations for this new production of Simon Boccanegra, the acclaimed Russian director, Dmitri Tcherniakov, has been familiarising himself Jonathan Miller’s previous ENO efforts.  »

14 Jun 2011

L’amico Fritz, London

Think verismo and one imagines melodramatic, often violent plots which peer unflinchingly into the soul of every character.  »

12 Jun 2011

Tosca, Covent Garden

The current Tosca at the Royal Opera House is something of a classic, revived four times in five years. It’s now being filmed for cinema to be released in November 2011. »

09 Jun 2011

Karlsruhe “Gioconda” Unintentionally ‘Konzertant’

It was a lucky happenstance that glorious vocalism characterized Badisches Staatstheater’s La Gioconda, for effective stagecraft was nowhere in evidence…but, oh, what singing!  »

09 Jun 2011

Andreas Scholl, Wigmore Hall

A capacity crowd at the Wigmore Hall eagerly awaited the arrival of Andreas Scholl and Tamar Halperin on the platform on Tuesday evening.  »

07 Jun 2011

Candide, Barbican Centre

‘Glitter and be gay!’ cries Cunegonde, determined to overcome the bitter circumstances in which she finds herself in sordid, downturn Paris. »

06 Jun 2011

Phaedra in Philadelphia

The U.S. premiere of Hans Werner Henze’s Phaedra at the Opera Company of Philadelphia may well be the most important and ambitious new work presented by any American company this season. »

01 Jun 2011

Brahms Liebesliederwalzer, Wigmore Hall, London

Any performance of Brahms and Schumann four part songs is an occasion.  »

30 May 2011

Ian Bostridge, Wigmore Hall

“Music, music for a while/ Shall all your cares beguile,” vowed Ian Bostridge at the opening of this recital with his regular accompanist, Julius Drake.  »

30 May 2011

Les Noces de Figaro in Paris

This is the one by Giorgio Strehler that opened at Versailles in 1973 and since has endured twenty-three incarnations, first at the Garnier and later at the Bastille.  »

27 May 2011

James Bowman, The Last London Recital

It’s easy to slip into platitudes when eulogising the last London recital performance of a singer commonly lauded as the outstanding countertenor of his generation.  »

26 May 2011

I Compagnacci and Il Re, Teatro Grattacielo

Teatro Grattacielo gives concert performances of Verismo operas that range from the obscure to the unheard-of.  »

26 May 2011

Macbeth, Royal Opera

Phyllida Lloyd’s reading of Verdi’s Macbeth – first seen in 2002 and here revived for the second time – could certainly not be described as ‘subtle’, either dramatically or visually. »

24 May 2011

Die Meistersinger von Nürnberg, Glyndebourne

Glorious sunshine for Glyndebourne Opera’s Die Meistersinger von Nürnberg on the eve of Richard Wagner's birthday. »

23 May 2011

Richard Coeur-de-Lion, New York

André-Modeste Grétry, the greatest opera composer ever to come from Belgium, made his way to Paris in 1767 at the age of 26.  »

23 May 2011

A Midsummer Night’s Dream, ENO

On my travels, I often hear occasional opera-goers complain about having wasted time and money on a production that, on the night, bears no relation to their expectations.  »

22 May 2011

Iphigénie en Tauride at the Washington National Opera

The Washington National Opera has concluded its 2010-11 season with Gluck’s 1779 masterpiece Iphigénie en Tauride, arguably the great Viennese composer’s greatest achievement and his swan song (if one does not count that unfortunate flop of 1780, Echo et Narcisse — and luckily, one hardly ever does).  »

22 May 2011

James MacMillan’s Clemency, Royal Opera

James MacMillan has reunited with his librettist, the poet Michael Symmons Roberts, to produce his new opera Clemency.  »

21 May 2011

Don Giovanni, Florida Grand Opera

By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits. »

18 May 2011

Orfeo ed Euridice, Metropolitan Opera

Gluck’s Orfeo is, intentionally, free of clutter. If you cut out the scenes of balletic rejoicing just before the finale (and I can’t think of any good reason not to do so), it’s less than ninety minutes of music.  »

18 May 2011

Die Walküre, Metropolitan Opera

There’s a lot to be said for lowered expectations. After last fall’s cramped, over-busy staging of Das Rheingold, I was prepared for a rough night at Die Walküre—and enjoyed the occasion very much, the staging, the direction, most of the singing, even the costumes.  »

09 May 2011

Houston makes sense — and music — of Ariadne

Ariadne auf Naxos, the next major endeavor of the Richard Strauss/Hugo von Hofmannsthal collaboration after Der Rosenkavalier in 1911, has been a special challenge for American opera companies. »

09 May 2011

The Damnation of Faust, ENO

Terry Gilliam was one of the forces behind Monty Python, the popular British TV comedy of the 1970’s. His fans will flock in droves to his version of Berlioz’s The Damnation of Faust at the ENO, London.  »

29 Apr 2011

Anne Sofie von Otter, Wigmore Hall

For the second time in a matter of just a few weeks, the Wigmore Hall audience were treated to an evening of seventeenth-century song and dance. »

29 Apr 2011

Rigoletto, New York

Rigoletto is the perfect opera. Even Verdi, who wrote so many wonderful scores, never created anything more flawless.  »

29 Apr 2011

Séance on a Wet Afternoon

Saturday, April 23 was indeed a rainy afternoon in New York City.  »

24 Apr 2011

Sumeida’s Song

It has long been my belief that the problems of the planet would be resolved (or move on to their next stage) if only the folk of every ethnicity (nation, faith, historic minority, tribe) would devote their energy to creating opera—and perhaps theater or dance—out of its musical and mythical traditions.  »

22 Apr 2011

The Magic Flute, Manitoba

It’s hard to go wrong with The Magic Flute. Mozart’s final opera contains every audience-pleasing feature in spades: beautiful music, a fairy tale story, romance, laughter, villains, heroes/heroines, and for most — a happy ending. »

22 Apr 2011

Minnesota Opera rescues Herrmann work

There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.  »

22 Apr 2011

Otello, Carnegie Hall

By the time he emerged from retirement with Otello, his twenty-seventh opera, at 73, there wasn’t much Giuseppe Verdi didn’t know about how to make an orchestra do his bidding, set the mood of each line of a good story, piling excitement on excitement and letting the tension mutate to something gentler at the right times in order to make the outburst to follow the more demoniac.  »

22 Apr 2011

Cyrano, Florida Grand Opera

To enter into David DiChiera’s space as he talks opera shop is to risk being pulled into his world, rapt by a tractor beam emitting a constant flow of music theater load.  »

22 Apr 2011

A Dinner Engagement

Trust Winnipeg’s resourceful Little Opera Company to come up with a little known, yet charmingly entertaining spring production.  »

19 Apr 2011

Handel’s Hercules when the Music is Paramount

In Lyric Opera of Chicago’s new production of Handel’s Hercules there is an undeniable interpretive strategy which prompts the viewer to consider recurring elements of human emotion, e.g. jealousy, rage, pity, among others.  »

19 Apr 2011

Americans define new territory for songs

They all wrote songs — lots of them: Ives, Bernstein, Rorem. In recital, however, the American product has never found a place on the perch claimed by Schubert and Schumann.  »

19 Apr 2011

Ian Bostridge, Wigmore Hall

The most remarkable aspects of this fresh, illuminating performance of Schubert’s Winterreise by Ian Bostridge and Mitsuko Uchida were the masterly control of dramatic form and the insightful, quite original, shaping of emotional content. »

19 Apr 2011

Akhmatova in Paris

The very name Mantovani strikes musical terror in the hearts of high minded Americans and Brits of a certain age. Now the same surname is evidently terrorizing Parisians. »

18 Apr 2011

The Tsar’s Bride, Royal Opera House

In Russian-speaking countries, Rimsky-Korsakov’s The Tsar’s Bride is much loved. In the west, it’s known mainly for its Overture. The Royal Opera House’s production is the first major production of the full opera in Britain. »

14 Apr 2011

Katarina Karnéus, Wigmore Hall

In Britain, Katarina Karnéus is closely associated with Grieg and Sibelius. Indeed, her career has almost been defined by her recordings of their songs for Hyperion. »

13 Apr 2011

Dallas Boris a monument to Tarkovsky

In those dark days before VCR and DVD, knowledgeable film buffs craved the return of Solaris and Stalker to a local art house screen. »

13 Apr 2011

Christopher Maltman, Wigmore Hall

A Frenchman, three Germans and a Venezuelan-born French national: musical responses to Venice.  »

08 Apr 2011

Tosca, NI Opera

“Show goes on despite fresh bomb scare”. Not exactly the sort of headline a new opera company might have dreamt of for its inaugural production. »

06 Apr 2011

Capriccio, Metropolitan Opera

Richard Strauss, nearly eighty years old and past caring what anybody thought (Pauline aside), ignored the Second World War happening just down the street and collaborated with his longtime conductor Clemens Krauss in an arch libretto about the feud for primacy between poetry and music, concluding with their synthesis in opera.  »

04 Apr 2011

Monodramas, NYCO

New York City Opera’s evening of “Monodramas” (under that general title) may not appeal to the opera-goer who prefers such typical fare as the company’s other offering this week, Donizetti’s L’Elisir d’amore, but I found it a devilish and delightful exploration of the depths of inner consciousness. »

04 Apr 2011

L’Elisir d’Amore

Donizetti described to his father the premiere cast of L’Elisir in terms of lukewarm praise—the tenor only “passable” the soprano’s voice “pretty” and the bass “a little hammy.”  »

04 Apr 2011

Lawrence Zazzo, Wigmore Hall

In this intriguing and unpredictable recital, American countertenor, Lawrence Zazzo, and his accompanist, Simon Lepper, presented a dynamic sequence of American song from the twentieth and twenty-first centuries.  »

04 Apr 2011

Literalism and Truth: Fidelio, Royal Opera

Proof that literalism isn’t truth: Jürgen Flimm’s production of Beethoven’s Fidelio, first heard at the Met and at the Royal Opera House, London in 2007. »