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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 27th 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 27th 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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30 Mar 2005

Aprile Millo in Philadelphia

NEW YORK – Few cosmic mistakes have ever been so glaring: Soprano Aprile Millo, who embodies the traditional operatic values that Philadelphians hold dear, hasn’t sung here in nearly 20 years. »

29 Mar 2005

Three Renderings of Faust in New York

Knowledge and the unknowable are the keys needed to unlock the 19th-century perception of the Faust myth. The modern idea of a deal with the devil for financial or carnal supremacy is completely irrelevant, and speaks volumes about the difference between 20th-century thought and that of its antecedents. In breaking free of the restrictions of formalism and established religion, however, the Romantics in literature incorporated some cautions of their own. »

29 Mar 2005

Tchaikovsky's The Maid of Orleans in Washington

WASHINGTON, March 27 – “The Maid of Orleans” was to have been Tchaikovsky’s international coming-out party. The Russian landscapes of his previous operas were left behind. His subject would be Joan of Arc. Tragic romance and history would circle each other in the grand French tradition of Meyerbeer. »

29 Mar 2005

Bach's St. Matthew Passion at the Barbican

Like any masterpiece, Bach’s St Matthew Passion can be approached in different ways. Interpretations have varied from austere meditations on the crucifixion to music dramas of almost tragic implacability. Richard Hickox’s Good Friday performance with the City of London Sinfonia and the BBC Singers veered towards the latter, presenting us with an almost operatic experience, characterised by wide emotional fluctuations rather than contemplative homogeneity. »

29 Mar 2005

More Degradation from Calixto Bieito

Rape, alcohol abuse, lesbianism and gratuitous violence: these are the themes of both Cavalleria Rusticana and I Pagliacci, as Calixto Bieito sees it. Odd. They were also the themes of the last opera he staged. And the one before. Can it be coincidence or did Mascagni, Leoncavallo, Mozart and Verdi all write operas featuring fisting? »

28 Mar 2005

Krassimira Stoyanova at the Rousse Festival

Her occasional home-coming always turns into a music event in her native Bulgaria. This time Krassimira Stoyanova appeared at the Rousse March Music days in a recital including twenty melodies and songs by opera composers: Gounod, Donizetti, Puccini in the first part and Tchaikovsky and Rahmaninov in the second plus two “encores” by Bulgarian composers Dobri Hristov and Liubomir Pipkov. She performed this same recital at Carnegie Hall on January 18, 2005, accompanied by Yelena Kurdina. »

28 Mar 2005

Chicago's Ring

Ringheads, rejoice! The end of the world is nigh. So, for that matter, are the flying Valkyries, swimming Rhinemaidens, spinning Norns, fearless heroes, empowered heroines and all the other mythic characters that make Richard Wagner’s “Der Ring des Nibelungen” (“The Ring of the Nibelung”) the greatest, most monumental fairy tale ever composed. »

28 Mar 2005

Offenbach's Whittington

Here is a splendid curiosity – a three-act operetta by Offenbach, written as the 1874 Christmas panto blockbuster for the famous Alhambra Theatre in Leicester Square and never subsequently staged in its original form. All credit to the tirelessly exploratory semi-professional University College Opera for its worthwhile revival. »

28 Mar 2005

Mozart's C Minor Mass Reconstructed

“Die spart (Partitur, Anm.) von der hälfte einer Messe, welche noch in der besten hoffnung da liegt”, erwähnt Mozart 1783 in einem Brief an seinen Vater. Bei der Hoffnung sollte es bleiben: Sein rätselhaftes Gelöbnis, die c-Moll-Messe zu vollenden, hat Mozart nicht gehalten. Das ehrgeizige Projekt einer umfangreichen Kantatenmesse im Stile von Bachs Schwesterwerk in h-Moll blieb ein Torso. Nur Kyrie, Gloria, Sanctus und Benedictus hat Mozart abgeschlossen, nicht alles davon ist jedoch in zweifelsfreier Form erhalten. Vom zentralen Credo existieren gar nur zwei Sätze, noch dazu voller offensichtlicher Instrumentationslücken. »

26 Mar 2005

Surprises at Wigmore Hall

Susan Bullock is widely regarded as the finest dramatic soprano to have emerged in the UK for some years. She is an exceptional Wagnerian and many would question why she is not singing Brünnhilde in one of the Rings-in-progress at Covent Garden or English National Opera, particularly since she is already established as an interpreter of the role abroad. »

26 Mar 2005

Leaving the "Audience Clamoring for More"

Handel had his troubles with sopranos as people. There’s a story that he once grew so enraged he tried to throw one of his divas out the window. On the other hand, no composer has written more knowledgeably and lovingly for the soprano voice than Handel did. »

26 Mar 2005

Rape of Lucretia

NO BETTER time than Easter to plead the cause of Benjamin Britten’s chamber opera. Forged in the same white fire of creative energy as Peter Grimes, Lucretia can remain problematic because of the apparent moralising of the framing Chorus. But watching this play of passion in a week of Passions certainly put things into context. »

26 Mar 2005

A Delicate Drama at Merkin Hall

When opera singers reach a certain level of fame and stature, they almost invariably express the desire to present song recitals as well. Often the problem is that they have little training in this specialized art and too much practice in their own stylistic niche. As a result, many highly publicized evenings at Carnegie or Alice Tully turn out to be woeful disappointments, proving only the lack of adaptability of many of our best singers. »

25 Mar 2005

Handel's Sosarme at Theater St. Gallen

Mit noblem Herrschergestus rückt der feine junge Herr im weissen Anzug fürs Schlusstableau die Opernwirklichkeit zurecht. Unvermittelt angeschmachtet von der Liebsten und scheinbar ohne Rücksicht auf den eben ausgefochtenen tragischen Höhepunkt des Familienzwists, von dem hier im Heldenton einer Opera Seria drei Stunden lang die Rede war, darf Fernando alias Sosarme die Totgeglaubten wieder aufrichten und dann, ganz cleverer Familientherapeut, die Sache mit einer zeitgeistigen Aufstellung zu Ende bringen. »

24 Mar 2005

Parsifal Gets Poor Reception in Berlin

A controversial new production of Wagner’s “punk” Parsifal, by Bernd Eichinger, film-maker and writer of Downfall, provoked outrage when it was premiered in Berlin last Saturday. Here he defends his production. A lot of critics complained that it was staged too close to the orchestra. But that is not a failure – that is exactly what I wanted to do. In a Wagner opera, you have to understand that there are more than 100 musicians; it is a big orchestra, big music. In order that the singers can really be appreciated you have to bring the action forward, closer to the audience. If you put them too far away in the distance of the stage you hear less. »

24 Mar 2005

Der Rosenkavalier at the Met

The Marschallin in Der Rosenkavalier is supposed to be no older than 32 – sensitive, sensual and emphatically sensible. Richard Strauss told us so. She is seldom played that way. Over the decades, the role has become the specialty of well-upholstered divas of a certain age who stress regal pathos at the expense of erotic allure. It wasn’t like that, however, on Friday at the Met, where Angela Denoke basked in revisionist revelation. »

23 Mar 2005

Orlando Furioso at New York City Opera

Handel’s opera “Orlando” is a seductive broadside against love, and New York City Opera’s new production makes this distaste for romance seem irresistible for a while. When the titular knight goes soft, the magician Zoroastro intervenes to warn him away from the vagaries of passion. Better, he counsels, to stick to such sensible, manly stuff as vengeance, mayhem and murder: Make war, not love. »

23 Mar 2005

Madama Butterfly at Covent Garden

IT’S STRANGE that such a basically fine performance can leave so many question marks, but that is perhaps the peculiarity of Madama Butterfly. Puccini’s shabby little shogun shocker contains some of the composer’s greatest music, yet it is put to such shallow, manipulative ends that anyone who likes their opera to be more than a high-class musical is likely to come away feeling unsatisfied. At least the Royal Opera’s latest revival is musically rewarding, and boasts one of today’s leading interpreters of the title role, but the picture-book production shows little willingness to tackle the problem. »

23 Mar 2005

Tosca at the Met

To this day, many sophisticated music lovers dismiss Puccini as a panderer or even a hack. But his supreme craftsmanship is the best refutation of this position. So dedicated was he to creating just the right effect for “Tosca” that he came before dawn one morning to the Castel Sant’Angelo in Rome and faithfully recorded the actual pitches of all of the church bells that can be heard there throughout the early hours, including those of the Basilica of Saint Peter’s. »

22 Mar 2005

A Symphony for Hans Christian Andersen

The words of Symphonic Fairytales are not by a musician, but by one of the 19th century’s most extraordinary writers: Hans Christian Andersen. The Danish fairy-tale author’s bicentenary falls on 2 April this year and a worldwide project is under way to celebrate him in music. Ten Danish composers have been commissioned to write pieces based on his stories; as part of this, the City of Birmingham Symphony Orchestra (CBSO), Chorus and Youth Chorus has achieved quite a coup with a new work from Per Norgard, Denmark’s musical éminence grise, which they will premiere on Andersen’s birthday at Symphony Hall. »

22 Mar 2005

Handel's Ezio at the London Handel Festival

THE curtain rises on Black-adder-land — epicene monarch, black-clad baddie, hooped ladies and preening hero — and you think, hmm, three hours of trying to turn opera seria into comedy could be a bit wearing. Worst fears aren’t entirely realised, but if you don’t trust Handel to hold an audience with a serious exploration of relationship and motivation, why bother? The London Handel Festival has brought us some notable rarities from among the man’s operas, and this one too has seldom been seen; but if the performance falls short, it’s not because the piece is rubbish. »

22 Mar 2005

Peter Grimes in Salzburg

Salzburg zur Osterzeit steht heuer ganz im Zeichen Benjamin Brittens. Nun ist “Peter Grimes”, die Festspiel oper Anno 2005, auch schon 60 Jahre alt, aber von einer Verankerung im internationalen Repertoire kann, wenn überhaupt, erst in allerjüngster Zeit die Rede sein. Jetzt, da das Stück von der Tragödie des Individuums in der Zeit der Vermassung aktueller denn je scheint, setzen es die meisten großen Häuser auf den Spielplan. Zeit also, bei einem Festival ein mustergültige Produktion zu präsentieren, scheint das Kalkül Simon Rattles gewesen zu sein, der damit den Festspielgedanken so unzeitgemäß wie richtig interpretiert. Zumindest in der Theorie. Man muss vielleicht ein bisschen weiter ausholen, um zu definieren, warum eine Inszenierung, wie sie Trevor Nunn im großen Festspielhaus vorgestellt hat, in diesem Fall ein wenig zu kurz greift. »

22 Mar 2005

Orpheus Chamber Orchestra Performs Pergolesi and Rossi

As a seasonal concert, with a mildly ecumenical touch, the Orpheus Chamber Orchestra played a concert of sacred music in the Medieval Sculpture Hall at the Metropolitan Museum of Art on Sunday evening (with a repeat tonight). The principal offering was Pergolesi’s dramatic, deeply emotional setting of the Stabat Mater. It was preceded by string arrangements of six pieces by Salamone Rossi, a Jewish composer who worked in Mantua, Italy, around the same time as Monteverdi, and wrote Hebrew Psalm and prayer settings in a lively madrigal style. »

22 Mar 2005

Rossini's Il turco in Italia in Hamburg

“Es werde Lichter”, sprach der Libretto-Dichter und ließ die Buffa-Puppen tanzen. Keine Charakter, sondern Typen, irgendwie geboren im ganz normalen Uraufführungswahnsinn italienischer Opernhäuser im frühen 19. Jahrhundert; fest am Faden hängend und ganz nach Bedarf herumgeschoben von ihren Schöpfern. Dieser Poeta in Gioachino Rossinis “Türke in Italien”, der sich und seine Erfindungsnöte vorlaut zum Thema einer komischen Oper macht, ist ein ziemlich einmaliger Fall. Und deshalb immer öfter ein gefundenen Fressen als Alter Ergo für seine Regisseure. »