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Elsewhere

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

GLUCK: Alceste

Alceste. Tragedia in three acts (Italian version). Alceste. Tragédie opéra in three acts (French version).

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).


OPERA TODAY ARCHIVES »

Performances

<em>Mortal Voices</em>Academy of Ancient Music at Milton Court Concert Hall
16 Feb 2018

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous. »

Recently in Performances

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04 Jul 2010

London’s Manon: Diva and Divo Deliver

The Royal Opera's intriguingly staged Manon had all the trappings of success including a soprano at the top of her game, and a tenor on the brink of his fame.  »

02 Jul 2010

Picture Perfect — Plácido Domingo as Simon Boccanegra, Royal Opera

Plácido Domingo isn’t a tenor, a baritone or even a singer. He’s a phenomenon. Dozens stood by the stage door at the Royal Opera House to greet him with bouquets.  »

23 Jun 2010

Leipzig Opera to stage Gluck Ring

Richard Wagner’s 200th birthday is just around the corner in 2013 — and the composer was, after all, born in Leipzig. »

22 Jun 2010

Idomeneo at ENO

Mozart was reputedly more attached to this musical drama of hubris and honour set during the Trojan War than to any other of his stage works. »

21 Jun 2010

Anne Schwanewilms in Recital at Wigmore Hall

This recital was the last in a series of five put together by Roger Vignoles to celebrate the lieder of Richard Strauss — a series which, comprising 85 of Strauss’ songs, has highlighted the composer’s role as heir to the nineteenth-century German lieder masters and reminded us of the ravishing beauty and varied emotional range of these unjustly neglected songs. »

21 Jun 2010

Night Music Magic 'n' More in St. Louis

With Opera Theatre of St. Louis’ stunning A Little Night Music, at long last we have been treated to a multi-faceted production that not only equals, but in many ways surpasses the dazzling original. »

19 Jun 2010

Orpheus & Euridice at Long Beach Opera

Early Greek writings say that Orpheus was the son of the muse Calliope and either Apollo, the god of prophecy and music or Oeagrus, the river god.  »

18 Jun 2010

Revivals Sparkle in the City of Lights

Paris Opéra recently served up two past productions in vibrant performances that were fresh-as-new. »

10 Jun 2010

Musically Astute Armida, Garsington

Garsington has become a distinctive part of the English summer opera season. »

09 Jun 2010

Le Grand Macabre, Avery Fisher Hall, NY

György Ligeti (1923-2006) was a naughty boy, and he reveled in it.  »

09 Jun 2010

Pearl Fishers, ENO

The opening tableau of Penny Woolcock’s new production depicts deep waters with rays of sun hitting the surface; in the murky blue depths, three harnessed acrobats glide down to the sea bed and back up again.  »

08 Jun 2010

Festive Concert with Jessye Norman

It was more the ruins than the remnants of a once-great voice that Jessye Norman brought to Israel’s new, 6500-seat outdoor opera theater at the foot of historic Masada Mountain.  »

08 Jun 2010

Nabucco at Masada

Israel Opera Nabucco includes three Va pensiero’s It’s apocrypha, of course, but legend has it that since its 1843 premiere at La Scala audiences have wanted an encore of the chorus Va pensiero when Verdi’s Nabucco is on stage.  »

08 Jun 2010

Le Nozze di Figaro, Royal Opera House

Detailed and precise, but never fussy, David McVicar’s thought-provoking production of Le Nozze di Figaro is ‘busy’ from the opening rushing semi-quavers of the overture.  »

07 Jun 2010

I Gioielli della Madonna, New York

Ermanno Wolf-Ferrari, son of an Italian mother and a German father, was born in Venice but acclaimed only when he took his operas to Germany, where he became quite popular during the first decades of the twentieth century.  »

07 Jun 2010

Bliss, Tosca and La Sonnambula at Opera Australia

Opera Australia regularly commission new work. Usually serious subjects drawn from notable Australian literature or dealing with an event or hero from Australian history. »

07 Jun 2010

La Damnation de Faust in Modern Guise at Lyric Opera of Chicago

During its recently concluded season Lyric Opera of Chicago presented two musical pieces based on the theme of “Faust.”  »

07 Jun 2010

First Opera in 3D — Carmen, Royal Opera House

Everyone knows the tunes from Bizet's Carmen even if they don't know it's an opera. Now the Royal Opera House, London, is making the world's best known opera into the world's first 3D opera film. »

07 Jun 2010

Tosca, ENO

Seeing Tosca at the Coliseum brings back happy memories, as it was a performance of Tosca (in a revival of the Keith Warner production in the 1990s) which occasioned my very first trip to the ENO. That also happens to have been the first time I ever saw Tosca. »

06 Jun 2010

Bostridge and Pappano at Wigmore Hall

Bringing their recent recording of Schubert’s late songs to the concert stage, Ian Bostridge and Antonio Pappano swept through a sequence which ranged from bitter-sweet regret to angry self-reproach, from hesitant hope to turbulent despair, in this the second of two performances at the Wigmore Hall. »

05 Jun 2010

Lulu, New York

Alban Berg died in 1935, but his music was generations ahead of his time – as one could not help but conclude during the recent revival of Lulu at the Met whenever the vibraphone played “doorbell” music, reminding us of the intrusion of cell phones into theaters.  »

01 Jun 2010

Ian Bostridge at the Wigmore Hall

One very tall and gaunt,one short and stocky, one introspective, one effusive : Ian Bostridge and Antonio Pappano, Music Director of the Royal Opera house make an odd couple, but they've partnered each other musically for many years. It's a good relationship, as this recital at the Wigmore Hall demonstrated. »

22 May 2010

Imbrailo stars as Billy Budd in Glyndebourne

Star born through stutter? It’s immediately obvious that Jacques Imbrailo’s Billy Budd at Glyndebourne is an extraordinary portrayal. His stammer is more expressive than speech. »

20 May 2010

La Fille du régiment, Royal Opera

Expectations were running high for the opening night of Elaine Kidd’s revival of Laurent Pelly’s production of Donizetti’s mad-cap romp, La Fille du regiment — almost as high as Tonio’s infamous top Cs.  »

19 May 2010

Florian Boesch, Wigmore Hall

At the Wigmore Hall, performers can chose daring repertoire, because audiences there are unusually receptive.  »

17 May 2010

Mefistofele in Montpellier

Back in 1989 Ken Russell opened his Genovese Mefistofele with heavenly choirs contemplating the divinity of a praying mantis.  »

17 May 2010

Michel van der Aa : After Life at the Barbican, London

“If you could take any one memory with you to eternity, which one would you choose?” In Michel van der Aa’s After Life several people meet in a waiting room.  »

12 May 2010

La traviata in May, Royal Opera House, London

Richard Eyre’s production of La traviata is so beautiful that it can be watched repeatedly, yet still yield pleasure. But appearances, however splendid, aren’t quite enough to make a completely satisfying evening.  »

10 May 2010

Heggie’s Moby-Dick a whale of an opera

It’s glorious and it’s gripping; it’s grand — and it’s good! Indeed, Jake Heggie’s Moby Dick, premiered by Dallas Opera in its handsome new Winspear Opera House on April 30, is a work that restores meaning to basic vocabulary made banal by overuse through the decades. »

10 May 2010

Modern English Song Alive and Well

London’s Wigmore Hall is one of the world’s great centres for art song. This recital, by Susan Bickley and Iain Burnside, specialists in the genre, showed that English language art song is alive and thriving. »

02 May 2010

Rossini’s Armida, New York

Armida is fabulous. That is to say, the story is a fable. Rinaldo, the very type of Christian warrior, is torn between his duty to lead the First Crusade and the sensual ecstasies offered by the beautiful sorceress Armida. »

02 May 2010

No Elephants — Aida at the Royal Opera House, London

It’s time Verdi got attention in Aida, not elephants. »

28 Apr 2010

The Power of Powder: Thomas Adès at the Royal Opera House, London

Thomas Adès’s Powder Her Face is back at the Linbury Studio Theatre at the Royal Opera House. It's a classic. Once again, Joan Rodgers sings the Duchess, supported by Alan Ewing, Iain Paton and the incomparable Rebecca Bottone, all in multiple roles. »

27 Apr 2010

Floyd’s Susannah in Boston

Fifty-five years after its premiere, composer and creator reunite for a new production at Boston University »

27 Apr 2010

Il barbiere di Siviglia, Arizona Opera

The story of Gioachino Rossini’s Il barbiere di Siviglia (The Barber of Seville) is based on Pierre-Augustin Caron de Beaumarchais’ 1775 play, Le barbier de Séville.  »

27 Apr 2010

Towards the light: Juilliard students present Poulenc’s Dialogues

It started with a bang and ended with a whimper. Juilliard’s production of Francis Poulenc’s opera Dialogues des Carmélites opened on Wednesday, April 21 and the performance started out strong.  »

26 Apr 2010

Der Fliegende Holländer, New York

Pick the word: soupçon? snippet? tidbit? quark? to describe the infinitesimal bite of Wagner bestowed upon us by the Met this year — and we had to wait till the end of April, to boot!  »

26 Apr 2010

Wagner’s Götterdämmerung and Schreker’s Die Gezeichneten

Chaos and disorder rule at Los Angeles Opera of late, and not just in the fervid imagination of director Achim Freyer, the artistic force behind the controversial staging of Richard Wagner’s four-evening glorification of chaos and disorder.  »

24 Apr 2010

Shadowboxer, the opera

The Clarice Smith Performing Arts Center at the University of Maryland — College Park is presenting Shadowboxer, an opera based on the life of Joe Louis, with music composed by Frank Proto to a libretto by John Chenault. »

24 Apr 2010

Shadowboxer — A Tormented Joe Louis

From the Maryland Opera Studio comes a riveting new opera that transforms the life of American boxing legend Joe Louis (“The Brown Bomber”) into an epic tale of human struggle, triumph, and failure.  »

24 Apr 2010

Shadowboxer’s Left Jab

This month, the Maryland Opera Studio (MOS) at the University of Maryland, College Park, marked its spot in opera history with the world premiere of Shadowboxer, a jazz-infused opera based on the life of iconic American boxer Joe Louis.  »

24 Apr 2010

Shadowboxer — The Rise and Fall of an American Hero

The Shadowboxer project, an opera about the life of heavyweight boxing champion Joe Louis, began as an idea in director Leon Major’s mind twenty years ago.  »

24 Apr 2010

A “CNN Opera” — Shadowboxer at UMD

The University of Maryland Opera Studio premiered a new commission this week: Shadowboxer, composed by Frank Proto, and based on the life of boxing champion Joe Louis.  »

24 Apr 2010

Shadowboxer — The Inner Life of Joe Louis

An opera about boxer Joe Louis might seem like a futile undertaking: according to 1930s New York Times reporter Meyer Berger, “Joe Louis avoids meeting people, hates conversation (even fight talk) and says less than any man in sports…”  »

23 Apr 2010

Christopher Maltman, Wigmore Hall, London

The abiding elegance and beauty of Christopher Maltman’s baritone, complemented by the interpretative wisdom and experience of Graham Johnson, one of the finest vocal accompanists of recent times, made this an evening of assured musicianship and expressive poise. »

19 Apr 2010

Christoph Prégardien, London

‘Come sweet death … for I am weary of the world’: thus, the opening lines of Bach’s aria, ‘Komm Süßer Tod’, from the Schemelli Liederbuch, led us into the realms of the afterlife, and encapsulated the central sentiment of this evening of songs meditating on, and calling for, release from toilsome human cares. »

19 Apr 2010

Mark Morris Dance Group: L’Allegro, il Penseroso ed il Moderato

‘Each action will derive new grace From order, measure, time and place;’ (Milton, Il Penseroso) »