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Elsewhere

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.

Discovering Gounod’s Cinq Mars: Another Rarity Success for Oper Leipzig

Oper Leipzig usually receives less international attention than its Dresden, Munich or Berlin counterparts; however, with its fabulous Gewandhaus Orchestra, and its penchant for opera rarities (and a new Ring Cycle), this quality hotspot will be attracting more and more opera lovers. Leipzig’s new production of Gounod’s Cinq Mars continues this high quality tradition.

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.


OPERA TODAY ARCHIVES »

Performances

<em>Collision</em>, Spectra Ensemble at the Arcola Theatre
19 Aug 2017

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. »

Recently in Performances

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03 Apr 2011

Florian Boesch, Wigmore Hall

Florian Boesch and Malcolm Martineau gave the finest recital so far in the Wigmore Hall’s decade by decade series of German Song.  »

03 Apr 2011

Tosca, Palm Beach

Victorien Sardou wrote the melodrama La Tosca, a play subject to all sorts of incidental drama and off-stage intrigue, for Sarah Bernhardt.  »

29 Mar 2011

Il ritorno d’Ulisse in patria, ENO

Benedict Andrews’ thought-provoking new production of Claudio Monteverdi’s Il ritorno d’Ulisse in patria, the latest of English National Opera’s innovative stagings at the Young Vic, juxtaposes images of unremitting modernity with a tapestry of archaic aural colours, all placed within an antique frame which resonates with universal emotions. »

28 Mar 2011

Le Comte Ory, Metropolitan Opera

Rossini’s penultimate stage work, Le Comte Ory, belongs to the tradition of sexy scoundrel operas, along with such works as Don Giovanni, Zampa, Fra Diavolo, Barbe-Bleu, Les Brigands and Threepenny Opera.  »

27 Mar 2011

Orlando Furioso, London

Adapting an extended literary work for the stage remains a challenge today and was no less so in the baroque era. Ariosto’s enormously long poem Orlando Furioso was extremely popular and inevitably his highly coloured characters found their way onto the operatic stage. »

24 Mar 2011

Sarasota Opera Winter Festival 2011

Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell. »

23 Mar 2011

The Turn of the Screw at LA Opera

An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?  »

23 Mar 2011

Machover, Death and the Powers

This is an opera written with a cannon and a feather. There is sensory overload—an overload of sensory overload: lights that shine into your face in the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds that invade you from every direction; dancing patterns of light that may resolve into huge words or huge faces; a great chandelier-harp that sometimes descends to be played, a strumming like the sounds of the sirens in Plato’s parable of the concentric crystalline spheres. »

18 Mar 2011

Roméo et Juliette, New York

Is Guy Joosten’s staging of Roméo et Juliette the best-looking production in the Met’s current repertory or what?  »

16 Mar 2011

Magnificent Mahler by Shanghai Symphony

It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.  »

15 Mar 2011

The Queen of Spades, New York

Tchaikovsky’s Pikovaia Dama (The Queen of Spades) is the longest Mad Scene in opera. Ghermann is already half nuts when we meet him in the park in St. Petersburg on a windy day, and he gets crazier from scene to scene.  »

15 Mar 2011

Aida, London

Strict courtly hierarchies and the repressed formality of ritual juxtaposed with violent sexual jealousy and lurid erotic excess … a stage-world more suited to the Straussian insalubrity of Salomé than to the epic grandeur of Verdi’s Aida, perhaps?  »

15 Mar 2011

Lucia, New York

It costs a lot to look cheap. And it takes a village to raise a child. In the case of the Metropolitan Opera’s current revival of Donizetti’s Lucia di Lammermoor, it takes a lot of talent to produce underwhelming opera.  »

10 Mar 2011

La Traviata, Phoenix

Francesco Maria Piave’s Italian libretto for Giuseppe Verdi’s opera La Traviata is based on the French play La Dame aux Camélias.  »

10 Mar 2011

Two Troubled Girls in Paris

Commanding soprano performances of put-upon heroines securely anchored two recent evenings at the Bastille Opera House.  »

09 Mar 2011

Luca Pisaroni at the Wigmore Hall, London

After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital. »

06 Mar 2011

Dialogues des Carmélites, Guildhall, London

Francis Poulenc’s Dialogues des Carmélites is an unusual opera, but much sensitive musical thinking has gone into this production at the Guildhall School of Music and Drama, London. »

06 Mar 2011

L’Africaine, OONY

Eugène Scribe and Giacomo Meyerbeer were in the business of creating proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe. »

06 Mar 2011

Gilbert & Sullivan: The Mikado

The front leg of the grand piano may rest at a rather precarious angle, and the out-sized martini glass lean a trifle askew, but Jonathan Miller’s 1986 production of Gilbert & Sullivan’s The Mikado wears its twenty-five years lightly — as do Stefanos Lazaridis’ eye-wateringly white, gleaming sets.  »

06 Mar 2011

Roderick Williams, Wigmore Hall

Relaxed, confident and composed, baritone Roderick Williams, accompanied by pianist Helmut Deutsch, gave a polished and performance before a warmly appreciative Wigmore Hall audience, performing an interesting selection of songs by Wolf, Korngold, Mahler and Schumann. »

06 Mar 2011

Così fan tutte, Palm Beach

Little is known about the extent to which Mozart and Da Ponte collaborated on the libretto for Così fan tutte.  »

06 Mar 2011

Schubert Transcribed, Wigmore Hall

Schubert, but not quite as we know him. You can always rely on the Wigmore Hall to promote adventurous recitals.  »

05 Mar 2011

Roméo et Juliette, Philadelphia

Neither the music nor the libretto of Charles Gounod’s Roméo et Juliette is quite compelling enough to have made it a popular standard. »

27 Feb 2011

Iphigénie en Tauride, New York

Gluck’s operas are part of a continuum, a tradition of French vocal declamation (as opposed to the Italian school of flights of elegant, open-throated vocal fantasy) that can be traced to him from Lully and Rameau, and then from Gluck through certain works of Mozart and Gluck’s pupil, Salieri to the operas of Spontini, Berlioz and Wagner. »

23 Feb 2011

György Kurtág Kafka Fragments, Banse and Keller

György Kurtág's Kafka Fragments, op 24, is a masterpiece, one of the seminal works of the late 20th century. »

22 Feb 2011

The Bartered Bride, New York

In the mid-nineteenth century, every nationality that did not possess a national state felt a need to prove itself, to square its shoulders and claim nationhood with all the identifying marks of a nation: a language with a literature, a tricolor flag, a national anthem extolling the people’s stalwart character and the country’s landscape (inevitably the loveliest in the world), a national theater and a national opera to be performed there. »

20 Feb 2011

Thomas Arne, Bampton Classical Opera

The first performance of Thomas Arne’s masque Alfred took place at Clivedon House on the Thames near Maidenhead, in August 1740. »

20 Feb 2011

Parsifal, ENO

This production retains a special place in my heart: its first outing in 1999 was my first Parsifal in the theatre. Saving up my student pennies, I made the journey not once but twice from Cambridge to London, was mightily impressed the first time and a little irritated the second.  »

18 Feb 2011

Anna Nicole, London

From the sublime (Parsifal, the night before) to the not-even-ridiculous.  »

17 Feb 2011

Opera Colorado’s ‘mermaid’ tremendous

The story is ages old, and every culture has a version of it: the mythic princess of an underwater realm longs for the love of a mortal man. »

15 Feb 2011

The Chill of Grace: A Winter Weekend at COC

At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.  »

11 Feb 2011

Egyptian Queen in Parisian Rubble

Although Paris Opéra's Dream Team of soprano Natalie Dessay and director Laurent Pelly promised much for the SRO run of Giulio Cesare in Egitto, for the moment we will have to keep dreaming of what might have been.  »

08 Feb 2011

Don Pasquale, New York

Witty and airy as an after-dinner anecdote over biscuits and cognac, Don Pasquale (1844) is, unlikely as it may seem, almost the last opera Donizetti completed before his descent into the madness of tertiary syphilis. »

07 Feb 2011

Turandot, Florida Grand Opera

In 2010, Florida Grand Opera held a gala to honor Robert Heuer on his 25th anniversary as general director. »

07 Feb 2011

Nixon in China, New York

Preparing for the Met premier of Nixon in China, I resolved to forget—or place on hold—everything I remembered, or thought I remembered, about the real persons who are characters in this opera,  »

07 Feb 2011

Turandot, San Diego

The original story that formed the basis for the libretto of Puccini’s opera Turandot told of a Mongolian princess who insisted that any prospective husband endeavor to win a wrestling match with her.  »

06 Feb 2011

Magdalena Kozená, Wigmore Hall

It’s a rare recital that can be at one and the same time intensely intimate and extravagantly exuberant, but that’s just what Magdalena Kozená and the eight-piece Austrian ensemble Private Musicke achieved in this fascinating and exhilarating concert, which brought a thrill of passion, spontaneity and excitement to the usually more restrained and rarified atmosphere of the Wigmore Hall. »

06 Feb 2011

Les Contes d’Hoffmann, Florida Grand Opera

If you are ever lucky enough to have the opportunity to catch a great exponent of just one of two major roles — the heroines or villains — in Offenbach’s Les Contes d’Hoffmann, you should secure a seat maintenant.  »

06 Feb 2011

Randy Rossini Romp in Z-Town

If proof were needed, the Swiss capital’s heady new Le Comte Ory cements the notion that super-star Cecelia Bartoli certainly seems to have found an ideal home at Zurich Opera. »

06 Feb 2011

Jurowski, Das klagende Lied

Vladimir Jurowski and the London Philharmonic have repeated their success with Mahler’s Das klagende Lied at the Royal Festival Hall.  »

06 Feb 2011

Die Zauberflöte, Covent Garden

Premiered in 2003, and aired again in 2005 and 2008, this current revival of David McVicar’s Die Zauberflöte brings many ‘old hands’ back together to re-visit oft-frequented roles on familiar ground. »

06 Feb 2011

Heggie’s Dead Man Walking triumphs at HGO

The production of Jake Heggie’s Dead Man Walking currently on stage at the Houston Grand Opera is marvelously celebratory in its success. »

04 Feb 2011

Lucrezia Borgia, ENO

Donizetti’s Lucrezia Borgia at the English National Opera, London, is an interesting hybrid. The opera is performed “straight” so to speak, but encased in a frame of short filmed passages that add background and depth. These films don’t intrude, but enhance. »

03 Feb 2011

Mosheh, a VideOpera

Yoav Gal, an Israeli-born composer-in-residence at the HERE arts complex in Manhattan’s South Village, calls Mosheh a “VideOpera,” rightly giving as much place to what is seen (electronic projections) as to what is heard (from four sopranos playing the women in the prophet’s life and an orchestra of nine musicians). »

02 Feb 2011

Bérénice, Carnegie Hall

Albéric Magnard, inspired to abandon the law for music by a visit to Bayreuth in 1886, was wealthy enough to ignore the public and go off on his own to compose.  »

02 Feb 2011

Jurowski conducts Zemlinsky

This looked an enticing programme before Vladimir Jurowski, in conversation with the Southbank Centre’s Head of Music, Marshall Marcus, divulged its secrets.  »