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Elsewhere

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 22nd October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta


OPERA TODAY ARCHIVES »

Performances

A scene from Nabucco [Photo courtesy of Serbian National Theatre, Novi Sad]
22 Nov 2014

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 22nd October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba. »

Recently in Performances

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07 May 2005

Missa Solemnis in London

‘The day on which a High Mass composed by me will be performed during the ceremonies solemnised for your imperial highness will be the most glorious day of my life,” wrote Beethoven in 1819 to Archduke Rudolph, the youngest brother of the Holy Roman Emperor Franz I and his composition student. Rudolph had just been elected archbishop of Olmütz in Moravia, and Beethoven was to write a setting of the mass for the installation the following year. In the event, however, the Missa Solemnis would take Beethoven five years to write and would be one of the grandest and most complex works of his later years. It is also one of the hardest of all musical works to perform. When Harmonia Mundi produced a live recording of the piece, conducted by Philippe Herreweghe, there were many who felt that this was the first time they had heard a performance that had the full measure of the work. This weekend he brings the same forces, the Collegium Vocale Gent and the Orchestre des Champs-Elysées to perform it in London. »

06 May 2005

La Wally in Düsseldorf

Düsseldorf. Die “Geierwally” als Oper lässt ein Alpendrama mit deftigem Lokalkolorit vermuten. Die Düsseldorfer Erstinszenierung von Alfredo Catalanis “La Wally” bot stattdessen die Seelenstudie einer sexuell frustrierten Gesellschaftsdame, die mit ihrem Wohlstand nichts anzufangen weiß, weil sich ihr der Mann verweigert, den sie liebt. Das Premierenpublikum folgte dieser Umdeutung bereitwillig, jubelte ihr nicht ohne die Lust der Wiedererkennung begeistert zu. »

06 May 2005

Magic Flute in Brussels

Durant les riches années passées à la tête de la Monnaie de Bruxelles, Bernard Foccroulle aura élargi la palette de la mise en scène d’opéra, en faisant appel à des chorégraphes ou à des plasticiens. Ainsi, l’homme de théâtre et dessinateur, le Sud-Africain William Kentridge, grand inventeur d’images fixes et animées. Si l’alchimie se fait entre l’univers visuel du créateur et l’oeuvre qu’il met en scène, cela peut renouveler la question. Dans le cas contraire, on a l’impression de voir, pour paraphraser Godard, non pas «des images justes», mais «juste des images». C’est ce qui se passe avec La Flûte enchantée vue par Kentridge. »

06 May 2005

Soile Isokoski at New York's Zankel Hall

With a voice at once silvery and dark, compact yet ripe with overtones, soprano Soile Isokoski is in increasing demand as a Wagner and Strauss interpreter. New York so far has heard her primarily in Mozart and French opera, most recently as an achingly poignant Rachel in Halévy’s “La Juive” and as Marguerite in the Metropolitan Opera’s glitzy new staging of Gounod’s “Faust.” »

05 May 2005

Un Ballo in Vancouver

Once upon a time, Masked Ball might have made sense. Back in the 1850s, when Giuseppe Verdi wrote it, he based his story on the assassination of Sweden’s King Gustavus III. A despot, cuckold, and philanderer, Gustavus further alienated himself from his subjects by claiming the exclusive right to produce aquavit, and was shot by one Jacob Johan Anckarström at a costume party in 1792. »

02 May 2005

Der Ring at the Wiener Staatsoper

Beinahe ist die Geschichte zu Ende. Einen Durchlauf wird die Adolf-Dresen-Inszenierung von Wagners “Ring”— Tetralogie in der kommenden Spielzeit noch erleben, dann ist — nach der 25. Aufführung der “Götterdämmerung” — Schluss. Am 2. Dezember 2007 beginnt mit der Premiere der “Walküre” ein neues “Ring”-Projekt, inszeniert von Sven-Eric Bechtolf, dirigiert von Franz Welser-Möst. Dieses wird im Mai 2009 abgeschlossen sein, ziemlich genau ein halbes Jahrhundert nach dem ersten Wiener Nachkriegs — “Ring” Herbert von Karajans. »

02 May 2005

Il Ritorno d'Ulisse at Birmingham

It’s always sensible to arrive early for a show by Birmingham Opera Company, simply to locate the venue. After a marquee for Fidelio three years ago and an abandoned car workshop for Candide in 2003, the company’s Monteverdi project, running since the beginning of last year, comes to a climax in a disused ice rink. »

02 May 2005

Rising Stars in Concert at Chicago

A plenitude of sweet music was in the air Saturday night at the Civic Opera House. It arrived long before Ralph Vaughan Williams’ “Serenade to Music,” its Shakespearean text a paean to “sweet music,’’ that closed the concert by members of the Lyric Opera Center for American Artists. »

02 May 2005

Clemenza di Tito at the Met

Operas like “Don Giovanni” or “Die Zauberflöte” today look like repudiations of the formal, almost motionless style that ruled Europe’s musical theater for most of the 18th century. Yet Mozart was surrounded all his life by opera seria, and he wrote four of them, including the early “Idomeneo” and the late “Clemenza di Tito,” which was heard Friday night at the Metropolitan Opera. »

01 May 2005

La Forza in Frankfurt

Vielleicht ist es das beste, was dem krausen Opernschauerdrama passieren kann: Die Macht des Schicksals konzertant, vom ersten Schuss an, der sich von selbst aus der Pistole löst. Die Oper Frankfurt lässt das Werk in der Fassung von 1869 in der Alten Oper unter Leitung Paolo Carignanis hören und hat damit die Einschätzung Theodor W. Adornos angesichts einer Inszenierung des Stücks 1928 am gleichen Ort noch überboten. Die schicksalswütige Romantik des Forza-Buchs, so der damals 25-jährige Musikkritiker, “sei in sich bereits so welk, dass zu seiner Beurteilung Marionettendramaturgie allein zuständig wäre”. »

01 May 2005

Magic Flute in Ferrara

The power of the very greatest conductors to reinvent whatever they conduct is one of music’s great mysteries. Claudio Abbado’s conducting is not the only reason to catch the production of Mozart’s Die Zauberflöte being toured in Italy and Germany by the Mahler Chamber Orchestra, but it is by a very long way the most important. Abbado’s performance is, quite simply, mesmerising. It is so full of musical insight and operatic experience that every bar seems perfectly placed, every detail of the scoring perfectly illuminated. »

01 May 2005

La Bohème at the Florentine

Bring a hankie, the Florentine just opened “La Bohème.” Puccini’s opera, which combines likable characters, elements of verismo realism, poignantly beautiful music and a tragic tale of young love lost, is one of the world’s best-loved operas. The Florentine Opera opened a strong production of the classic on Friday, in which director Lillian Groag found a balance between the story’s humor and pathos. »

01 May 2005

Figaro at the Beach

Monteverdi’s “Orfeo” set in a chic apartment on Manhattan’s Upper East Side, Mozart’s “Cosi fan tutte’’ played out in a trendy club complete with burly, stone-faced doormen and a sleek VIP room. Chicago Opera Theater has had some smashing successes with stage director Diane Paulus’ contemporary take on centuries-old operas. She is back this spring, teamed once again with conductor Jane ver, her colleague on four previous COT productions, for a fresh look at another Mozart opera, the bittersweet “The Marriage of Figaro.’’ A “Figaro’’ set in Miami’s South Beach, anyone? »

29 Apr 2005

Suor Angelica and Pagliacci at Liège

Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I’d love to hear Angelica’s second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent ( nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly. »

29 Apr 2005

Giovanna d’Arco at Antwerp

The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81 year old Silvio Varviso spoke briefly but forcefully and asked for the spectators’ support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpasses) Pappano’s former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera. »

29 Apr 2005

The Bartered Bride at Julliard

In the dark before the lights came up, the stage looked like a set for “Oklahoma!,” down to the dozing cowpoke. The rising lights revealed the object that had looked like a windmill to be a maypole and the setting to be Czech, yet the “Oklahoma!” resemblance didn’t altogether fade. Bedrich Smetana’s opera “The Bartered Bride” has a whiff of an American musical to its simple sweet story (boy loves girl, boy figures out how to get together with girl) and pretty tunes, and the Juilliard Opera Center’s production, which opened on Wednesday, brought out the similarities. »

29 Apr 2005

Upshaw in Downtown Philadelphia and Carnegie Hall

A few seconds into Dawn Upshaw’s singing, you decide that the most important thing is purity of tone – honest, solid, unadorned tone – and Upshaw has it in spades. »

29 Apr 2005

Bo Skovhus at Wigmore Hall

We don’t hear Bo Skovhus in the UK as much as we should. One of today’s great singers, the handsome Danish baritone is both a star and something of a sex symbol on the European mainland, although his work has been inexplicably undervalued by British opera companies and concert managements. »

28 Apr 2005

Tales of Hoffmann at Baltimore

Looking for an escape—from reality? The Baltimore Opera Company has just the ticket. Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) is not called an “opera fantastique” for nothing. »

28 Apr 2005

Hansel and Gretel at Inverness

WHAT was that about working with children? Halfway through Humperdinck’s fairytale opera a gang of local kids troops onstage dressed in sheets — angels, see — and hangs around for a bit before sloping off again: the naffest piece of staging I’ve collected in a while, and indicative of some confusion about the purpose of Scottish Opera’s mid-scale touring arm. »

28 Apr 2005

Boris Godounov at the Bastille

L’Opéra de Paris redonne à partir d’aujourd’hui, à Bastille, le Boris Godounov créé en octobre 2002 sous la baguette de James Conlon et dans la mise en scène de Francesca Zambello. C’est Jiri Kout qui devait assurer la direction musicale de ces nouvelles représentations. Empêché pour des raisons de santé, il sera remplacé par Alexander Vedernikov, directeur musical et chef principal du Théâtre Bolchoï qui assurera les sept premiers concerts, laissant à Alexander Titov, chef invité du Théâtre Marinski depuis 1991, le soin de prendre le pupitre pour les deux derniers. Une façon de recréer à Paris la rivalité artistique qui oppose Moscou à Saint-Pétersbourg. »