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Elsewhere

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.


OPERA TODAY ARCHIVES »

Performances

Craig Colclough as Mr Conti with Maria Elena Altany as Susana [Photo courtesy of Los Angeles Opera]
26 Jan 2015

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.  »

Recently in Performances

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19 Jun 2005

Boris Goudenow and the Boston Early Music Festival

BOSTON, June 17 – For fans and performers of early music, this city is paradise for a week every other June, when the Boston Early Music Festival sets up its combination concert marathon and trade show. The festival offers performances every night between 5 and midnight. The centerpiece is always a lavishly produced Baroque opera – this year’s is Johann Mattheson’s long-lost “Boris Goudenow” – but concerts by imported ensembles and soloists, and by the festival’s period instrument orchestra, are also a strong draw. »

16 Jun 2005

Rossini's La gazzeta at the Liceu

El dramaturgo y premio Nobel de Literatura italiano Dario Fo confesó ayer que ha «saqueado» a Rossini y la tradición de la ‘comedia dell’arte’ para hacer la escenografía de la ópera ‘La gazzeta’ del compositor italiano, que el Liceo barcelonés estrenará el próximo día 20. ‘La gazzeta’ narra la historia de don Pomponio, que quiere casar a su hija con el mejor partido. Para ello, inserta un anuncio en el diario en el que hace un elogio ditirámbico. Aunque la obra estaba llamada a tener éxito, la escasa promoción propició, según Fo, que no recibiera el interés del público cuando se estrenó en Nápoles en 1816. »

15 Jun 2005

Il Barbiere di “Siviglia” in Antwerp

Very attentive readers will have noticed I put “Siviglia” in quotation marks as it refers in this production to the name of an Italian hairdresser’s salon and not to the Spanish city. Director Joosten who always keeps an attentive eye on surtitles and has them changed when the sung lines are contrary to the happenings on the scene nevertheless let a reference to the Spanish Prado slip in. »

14 Jun 2005

The Midnight Court at Queen of Puddings Music Theatre

Irish fairies can be malign spirits, but they’ve done nothing but good for Queen of Puddings Music Theatre. This small Toronto company launched its only production of the season at Harbourfront Centre on Saturday, and a scant hour later had scored its biggest artistic success ever. »

09 Jun 2005

Falstaff at LA Opera

LOS ANGELES (Hollywood Reporter) – “Falstaff” might have been Verdi’s last opera; it might have been Verdi’s greatest opera; it is, without doubt, Verdi’s only and most hilariously comic opera. »

09 Jun 2005

Felicity Lott at Wigmore Hall

“What’s a dame like me doing in a dump like this?” It takes a DBE to get away with a line like that in a venue as august as the Wigmore Hall – and this was how Felicity Lott wrapped up a recital marking 30 years of performing here with pianist Graham Johnson. The programme, Fallen Women and Virtuous Wives, is one the pair are currently touring. While its humour found its niche in the Wigmore Hall, how it will play in Luxembourg next week is anyone’s guess. »

09 Jun 2005

Der Freischütz at Carnegie Hall

If Carl Maria von Weber never quite made it into the grand procession of Romantic giants, he left behind an opera of indestructible charm. “Der Freischütz,” which Eve Queler’s Opera Orchestra of New York undertook on Monday night at Carnegie Hall, is first of all a darling of historians – a musicological ground zero for the German musical theater. »

08 Jun 2005

José Carreras at the Sofia Palace of Culture Hall, May, 28, 2005

With Monserrat Caballé’s sensational concert at the same hall in September 2000, this is the second appearance of a famous Spanish opera singer in Sofia. The advertising campaign that started two months ago brought very good results assembling the la crema y la nata de la sociedad. The Sofia Metropolitan Orchestra conducted by David Himenez performed well in the solos: Rossini’s “La gazza ladra” and the intermezzo of Heronimo Himenez’ zarzuella “La boda de Luis Alonso.” José Carreras chose to partner with the young and promising Bulgarian soprano, Zvetelina Maldzanska, to share his triumph in Sofia. »

07 Jun 2005

Grétry's Zémire et Azor in St. Louis

Theatrical magic and cheerful charm abound in Opera Theatre of St. Louis’ new production of Andre-Ernest-Modeste Gretry’s version of “Beauty and the Beast,” seen Sunday evening in its premiere. »

06 Jun 2005

Angela Gheorghiu at the Liceu

Ahí estaba Angela Gheorghiu, recogiendo la ovación que se llevaba tras cantar el aria Prendi, per me sei libero, de la penúltima escena de L’elisir d’amore. Lo hacía abrazada al tenor Giuseppe Filianoti, a quien consolaba mesándole el pelo. En la escena anterior, Filianoti había cantado Una furtiva lagrima, y lo hizo, ay, con dos espectaculares gallos incluidos. »

05 Jun 2005

Magdalena Kozená in Berlin

Ein gesellschaftliches, aber auch ein musikalisches Ereignis der besonderen Art: auf Einladung der Philharmoniker im Kammermusiksaal neben Sir Simon Rattle sitzen zu dürfen, um gemeinsam mit ihm die zauberhafte Lady Rattle, alias Magdalena Kozená, singen zu hören. Ihr Vortrag glich einem Streifzug durch Kunst gewordene Volkstümlichkeit: einer klingenden Speisekarte der Erinnerungen an die Heimatsprache der Musik. »

04 Jun 2005

1984 — Another View

Lorin Maazel has done a very bad thing. Have you heard? He wrote an opera, “1984” (based on the Orwell novel, of course). It was premiered at London’s Covent Garden last month. And he paid for part of the production himself. Very, very bad. »

04 Jun 2005

Carole Farley at Wigmore Hall

We haven’t seen much of American soprano Carole Farley in the UK for a very long time. She was something of a cult figure in the late 1970s and early 1980s, specialising in roles such as Berg’s Lulu and the unnamed woman in Poulenc’s La Voix Humaine at a time when some singers were unwilling to tackle them. »

01 Jun 2005

Britten's A Midsummer Night’s Dream at Chicago Opera Theater

In its recent performances of Benjamin Britten’s A Midsummer Night’s Dream Chicago Opera Theater affirms its reputation for carefully gauged and well cast productions. Already from the subdued opening accompanied by muted strings an underlying tension is evident in the darting figure of Puck, a spoken role assumed in this production by the actor Jason Griffin. The movements of all the characters in this production are matched consistently to an orchestral or vocal expression, emphasizing thus the union of choreography with lyrical and declamatory effect. Chicago Opera Theater’s presentation divides the action and emotional entanglements of Britten’s three acts into two parts. Soon after the start of the first of these the royal fairy couple, Oberon and Tytania, enter in formal dress. Their disagreement over a youth taken into the service of the queen, yet desired by Oberon, fuels an initial conflict that — by the time of its resolution — will bear on the fates of the other pairs of young lovers in the piece as well. »

30 May 2005

Cherubini's Medea at Toulouse

L’événement du mois, sinon de la saison, vient d’avoir lieu à Toulouse avec la nouvelle production d’un chef d’œuvre trop rarement joué : Medea de Luigi Cherubini. Avec, pour défendre le rôle-titre, l’éblouissante performance d’Anna Caterina Antonacci, couronnant une réalisation de tout premier plan, tant au niveau de l’Orchestre National du Capitole dirigé par Evelino Pidò, qu’à celui des mises en scène, décors et costumes signés Yannis Kokkos. Une réussite exemplaire dont il ne faudra pas rater la reprise au Châtelet de Paris dans le cadre de son annuel festival des régions.* Compositeur majeur, à la fois contemporain de Mozart – il était son cadet de quatre ans – et de Beethoven – né dix ans après lui -, injustement boudé par divers oukases de ces modes qui se suivent puis se démodent, il était l’homme de la maestria absolue, héritier de Gluck, mozartien dans l’air du temps, adepte de la rigueur classique et annonciateur visionnaire du romantisme. Autant d’éléments et de formes qui émaillent son œuvre prolifique (opéras, cantates, messes, sublime musique de chambre) comme Les Cailloux du Petit Poucet. Berlioz le railla, l’admira, l’imita… »

30 May 2005

Falstaff in LA

LOS ANGELES, May 29 – Portraying the title role of Verdi’s “Falstaff,” which opened at the Los Angeles Opera on Saturday, the bass-baritone Bryn Terfel is so irascible, nimble on his feet and altogether charming that he almost makes you forget how splendidly he sings the music. Yes, this Falstaff is a blowhard, a bald and broken-down knight, and a shameless moocher. »

29 May 2005

Mozart and Gluck in London

Did Mozart really think Cosi Fan Tutte was a comedy? Matthew Warchus didn’t seem sure when he created his ENO staging three years ago; but, even if Steven Stead’s revival doesn’t milk every gag in Jeremy Sams’ wonderfully witty translation of Da Ponte’s libretto, there are enough laughs to make you think he might have done. »

29 May 2005

Voigt and Heppner at Cincinnati's May Festival

Friday will go down in the annals as one of the most spectacular opera evenings ever at the May Festival. Two of the world’s greatest Wagnerian singers, soprano Deborah Voigt and tenor Ben Heppner, came together for the first time in Act II of “Tristan und Isolde,” a concert performance under the baton of James Conlon in Music Hall. It was one of those rare moments of music making that one feels lucky to witness, and the hall erupted in cheers for nearly 10 minutes at its conclusion. »

27 May 2005

Arabella at Châtelet

Il y a trois ans, l’Arabella de Richard Strauss mise en scène par Peter Mussbach avait été l’un des points culminants de la saison du Châtelet, mais avait divisé les esprits : certains avaient taxé de froideur le décor étonnant d’Erich Wonder, regrettant sans doute le rococo viennois. C’était oublier que le livret, laissé inachevé par Hofmannsthal, mort d’une apoplexie alors qu’il mettait son chapeau pour se rendre à l’enterrement de son fils, n’a strictement plus rien des stucs du Chevalier à la rose, mais éclaire avec cruauté le monde moderne des années 20 et sa décomposition sociale. Tout cela, ce hall de grand magasin avec ses escalators à l’endroit et à l’envers, le dit aussi bien que des personnages dont le rang social s’effrite sous l’assaut des névroses. Non seulement le spectacle n’a pas vieilli, mais il a gagné en concentration. »

27 May 2005

Fisting Macbeth in Frankfurt

It doesn’t matter who sings what. At some point, someone’s fist is up someone else’s rectum. Some of us were not even sure this was anatomically possible until the nihilistic Catalan director Calixto Bieito took up opera. Now it’s routine. »

27 May 2005

Die Zauberflöte at Baden-Baden

In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile. »

26 May 2005

Rigoletto at Teatro de la Ciudad

Por primera vez en México y con una producción fastuosa como se ha presentado en Nueva York se presentará en el Teatro de la Ciudad la ópera “Rigoletto” de Giuseppe Verdi. »

26 May 2005

Rigoletto in St. Louis

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park. »

23 May 2005

La Cenerentola at Glyndebourne

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there. »