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Elsewhere

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Julian Prégardien : Schubert, Wigmore Hall, London

The Wigmore Hall's complete Schubert song series continued with Julian Prégardien and Christoph Schnackertz, in a recital deferring from May. Well worth the wait, because Prégardian is good, his singing enhanced by very strong musical instincts. In Lieder, sensitivity and musical intelligence are as important as voice. A good recital, is one where you come away feeling you've gone deeper into the repertoire thanks to the performer, as opposed to watching celebrity for celebrity sake

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.


OPERA TODAY ARCHIVES »

Performances

Scene from <em>As One</em> [Photo by Karli Cadel courtesy of San Diego Opera]
22 Nov 2017

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’ »

Recently in Performances

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12 Mar 2010

The Nose, New York

When the orchestra re-tuned itself between the intermissionless acts of the Met premiere of The Nose last week, many in the audience were uncertain whether they were hearing practice or prelude.  »

11 Mar 2010

Verdi’s Attila, New York

The curtain rises on an enormous pile of crumbling reinforced concrete, broken wires sticking out every which way – an image that has replaced (at least in the minds of set designers) the romantic columned or castellated ruins that thrilled our ancestors, especially around the time, 1846, that Verdi composed Attila. »

09 Mar 2010

The Elixir of Love at ENO

As a medic with a keen knowledge of psychology, Jonathan Miller probably knows a thing or two about elixirs and placebos.  »

09 Mar 2010

The Gambler, London

The global credit crunch, with its painful exposure of the moral and literal bankruptcy of our own age, provides the perfect backdrop for this new production of Prokofiev’s The Gambler, the first ever staging of this opera at The Royal Opera House, Covent Garden.  »

08 Mar 2010

Love Triumphs in L’Elisir d’amore at Lyric Opera of Chicago

In its current revival of Donizetti’s L’Elisir d’amore Lyric Opera of Chicago’s production showcases the strengths and foibles of humanity, while assuring the ultimate triumph of love. »

08 Mar 2010

Brilliant Schubert programme: Matthias Goerne, Wigmore Hall

This second of two recitals of Schubert songs by Matthias Goerne and Helmut Deutsch at the Wigmore Hall, London was superb, the programme created with exceptional intelligence and insight into the inner dynamics of Schubert’s music.  »

08 Mar 2010

Tamerlano: Handel at the Royal Opera House, London

Handel’s Tamerlano, in the production by Graham Vick, is well known, but its run at the Royal Opera House is unusual because many of the cast are creating the roles for the first time. It isn't a live reprise of the DVD, but more challenging. »

05 Mar 2010

Karlsruhe: Rare Verdi, Well Done

The Baden State Theatre's new mounting of I Masnadieri may not completely be the production of one’s dreams. »

05 Mar 2010

Matthias Goerne at Wigmore Hall, London

In this, the first of two recitals with pianist Helmut Deutsch, baritone Matthias Goerne continued his very personal journey through the landscape of Schubert’s lieder, a passage which is currently being preserved on an outstanding series of discs by Harmonia Mundi.  »

05 Mar 2010

Ariadne auf Naxos, New York

As the first familiar themes of Ariadne came from the pit, I felt myself sinking — sinking from a tense, dreary, daily world into a sort of ecstatic fantasy — a place where all was happy, funny, romantic, inane, fateful and surprising all at once — Sarah Connolly superb, Kathleen Kim charming, Nina Stemme full-throated,  »

04 Mar 2010

Zürich mal Zwei

Zürich Opera’s poster for their new production of Idomeneo is a knockout. »

11 Feb 2010

Armide by Opera Lafayette

Gluck’s Armide, as semi-staged (costumed dancers but no scenery) at the Rose Theater by the Washington-based Opera Lafayette, was exactly what Gluck designed the piece to be: a supremely elegant entertainment. »

07 Feb 2010

Donizetti revealed: Lucia di Lammermoor, ENO, London

Donizetti’s original concept of Lucia di Lammermoor is revealed in its true glory in this ground breaking production by the English National Opera, first heard in 2008. The opera is loved in its familiar form, but the new critical edition reveals the depth of Donizetti’s musical creation. »

04 Feb 2010

Heidelberg’s Stumbling Spartaco at Schwetzingen Castle

For those who might be seeking a representational tale of the legendary Roman slave Spartacus, well, Gladiator this ain’t. »

02 Feb 2010

Così fan tutte, Covent Garden

First seen in 1995, and here receiving its seventh revival, Jonathan Miller’s Così fan tutte has lost none of its power to unsettle and discomfort.  »

02 Feb 2010

Shohat’s The Child Dreams — A mature work

Gil Shohat, now 35 and Israeli’s top classical composer, was 15 when in the ‘80s he saw Hanoch Levin’s The Child Dream on stage in his native Tel Aviv. Shohat, of course, knew Levin’s work well, for throughout early decades in the history of Israel he — its outstanding dramatist — had served somewhat as the conscience of a nation tormented defining itself within its pain-wrought beginnings.  »

01 Feb 2010

Joyce DiDonato, Wigmore Hall

The Wigmore Hall was bursting its seams in excited anticipation of this recital by the American mezzo-soprano, Joyce DiDonato.  »

29 Jan 2010

Lyric Opera of Chicago’s The Merry Widow

Melodic and scenic gaiety predominates in Lyric Opera of Chicago’s new production of Franz Lehár’s The Merry Widow.  »

25 Jan 2010

London’s Rambunctious Rake

Covent Garden has revived director Robert Lepage’s popular and well-traveled version of The Rake’s Progress with often thrilling results. »

22 Jan 2010

Il Mondo della Luna (The World on the Moon)

A long time ago in a galaxy far, far away, around 1777, the Empress Maria Theresa used to visit Prince Esterhazy’s summer palace at Esterhàza, where there was an opera house fully equipped with stage machinery, leading singers, an orchestra, and a guy named Joseph Haydn to compose on cue.  »

18 Jan 2010

Stiffelio at the MET

Stiffelio was composed just after Luisa Miller — an opera that has had little trouble holding its own in the repertory — and just before the magic trio of Rigoletto, Trovatore and Traviata, the first Verdi operas to take their immediate place on the stages of the world and hold them without a break from that day to this.  »

18 Jan 2010

Phaedra at the Barbican

Most musical of mourners, weep anew! Not all to that bright station dared to climb And happier they their happiness who knew Whose tapers yet burn through that night of time »

18 Jan 2010

Elektra at the Barbican

Concert performances of operas are often problematic in that the work tends to be cut or otherwise played around with, or the venue is inappropriate - after all, these were meant to be staged pieces. »

17 Jan 2010

Carmen at the MET

Elina Garanča conceals her gleaming gold tresses beneath a curly black wig to sing Carmen.  »

08 Jan 2010

Quality opera just round the corner

Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.  »

29 Dec 2009

58th Wexford Festival Opera

David Agler must be feeling a trifle unlucky. Having in 2005 taken over the reins of a flourishing, internationally renowned opera festival, with a stylish new opera house in the planning and the Irish economy booming, his hopes must been high; but in the event the Canadian’s first few years as Artistic Director of the Wexford Festival Opera have been far from plain-sailing.  »

18 Dec 2009

Elektra at the Met

The roles Richard Strauss composed for his “chorus” of Five Serving Maids in Elektra — all that remains in the opera of the commentator chorus in Sophocles’ tragedy — are short but arduous. »

18 Dec 2009

Ernani: The Case for Early Verdi at Lyric Opera of Chicago

Productions of Giuseppe Verdi’s early opera Ernani have become relatively infrequent primarily because of the difficulties of casting the work requiring four demanding roles.  »

18 Dec 2009

Sergei Leiferkus at Wigmore Hall

Exchanging the stage of The Royal Opera House — where he is currently performing the role of His Highness in Tchaikovsky’s fairy-tale opera, The Tsarina's Slippers —  »

18 Dec 2009

Frankfurt’s ‘Medium’ Rarities

Encountering Frankfurt Opera’s staging of Leoni’s L’Oracolo and Puccini’s Le Villi, I was reminded of that old saw about the German weather. »

18 Dec 2009

Amsterdam: Minnie, Get Your Gun

It is hard to know where to start to adequately laud Netherlands Opera’s witty new La Fanciulla del West. »

18 Dec 2009

Pénélope in Manhattan

The one thing certain about the judgment of history is that history will change its mind.  »

15 Dec 2009

Zürich’s Riveting ‘Corsaro’

Il Corsaro, the Verdi rarity currently on display at Zürich Opera, is the best of both possible worlds. »

11 Dec 2009

Les Contes d’Hoffmann at the MET

The Tales of Hoffmann is a cruel piece, for all the wit of the macabre tales on which it is based and the sparkle the dying Offenbach put into his last and grandest score.  »

11 Dec 2009

A Streetcar Named Desire at Opera Australia

Musically, Australia looks to Britain and Europe, especially for its operatic diet and America’s considerable operatic output has been overlooked.  »

10 Dec 2009

Der Rosenkavalier - Royal Opera House, London

In dark, damp December we need good cheer, and Der Rosenkavalier at the Royal Opera House, delivers colour and spectacle. in abundance. It's a revival of the John Schlesinger production from 1884, and somewhat antiquated, but that's no disadvantage, for the passage of time haunts Der Rosenkavalier.  »

08 Dec 2009

Tchaikovsky’s Sure-Footed ‘Slippers’

Spearheaded by a stunning design concept for The Tsarina’s Slippers, London’s Covent Garden served up as delectable a production as could be desired, and introduced its lucky patrons to a jewel of an under-performed comic opera in the bargain. »

06 Dec 2009

A Faust of Distinction at Lyric Opera of Chicago

For its second production of the 2009-10 season Lyric Opera of Chicago staged a revival of Charles Gounod’s Faust, last seen here in 2003-04.  »

04 Dec 2009

Le Nozze di Figaro at the MET

The best news about the Met’s eleven-year-old Jonathan Miller production of Le Nozze di Figaro is that it has been restaged by Gregory Keller, more tautly spun, many elegant jokes or character moments inserted, several idiocies discarded and with plenty of room remaining for singers with a flair for it (such as Luca Pisaroni and Isabel Leonard) to invent comic business of their own. »

02 Dec 2009

Otello in San Francisco

Sir Peter Hall created this production of Otello at Chicago Lyric Opera in 2001.  »

01 Dec 2009

No need to rise for this Hallelujah Chorus

ENO did not exactly ‘import a choir of Heathens’ to encourage the Shaws of this world to ‘hasten’ to its version of ‘Messiah’ ‘if only to witness the delight of the public and the discomfiture of the critics,’ the contribution of ‘Heathens’ in musical terms being limited to representing the populace of an initially grey Britain (or so I assume) but for every critic who was discomfited — most of us — there were hundreds of audience members who loved it, so it’s fairly safe to predict a considerable hit. »

30 Nov 2009

Mark Padmore at Wigmore Hall

Mark Padmore and The English Concert took us on a journey from the dark depths of melancholy to the ethereal transcendence of joy, in a display of consummate artistry at the Wigmore Hall. »

27 Nov 2009

Esther at NYCO

The question that puzzled me when attending Esther was Why.  »

24 Nov 2009

Così fan tutte, Opera Australia

Like most opera companies, the Mozart/da Ponte trifecta of Figaro, Don Giovanni and Così fan tutte are central to Opera Australia’s repertoire.  »

24 Nov 2009

Iestyn Davies at Wigmore Hall

There was a certain inevitability about the build-up to Iestyn Davies’ recital at the Wigmore Hall in London last Wednesday.  »

17 Nov 2009

From the House of the Dead at the MET

Leoš Janáček’s From the House of the Dead is a very odd duck to find on the stage of a grand opera house.  »

15 Nov 2009

Die Rheinnixen by New Sussex Opera

London has long been spoiled in the operatic rarity department, thanks to companies like Opera Rara, Chelsea Opera Group and University College Opera populating various areas of the Venn diagram that is obscure repertoire.  »