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Elsewhere

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

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.


OPERA TODAY ARCHIVES »

Performances

29 Jan 2015

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa»

Recently in Performances

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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. »

22 Mar 2005

Götterdämmerung at Chicago Lyric

Lyric Opera has been a tease this season. It’s now offering a preview of the delights that will be available March 28, when the company revisits one of opera’s most daunting challenges, Wagner’s cycle of four interrelated works, “The Ring of the Nibelung,” in three cycles through mid-April. »

21 Mar 2005

Les Ours du Scorff at Mino and Other Children Festivals

Sous le nom des Ours du Scorff, un quintette breton spécialisé dans les airs folkloriques destinés aux enfants de 4 ans et plus. En douze ans d’existence, cette formation est devenue une référence de la chanson jeune public, régulièrement invitée par les festivals spécialisés (Mino et, samedi 19 mars, celui de Magny-les-Hameaux, dans les Yvelines). L’explication de cette réussite tient en un mot : tradition. Non comme forme de réaction, mais comme désir de transmission. »

21 Mar 2005

Bach Restored in Japan

TOKYO (AFP) – Une cantate profane longtemps perdue de Jean-Sébastien Bach a été ressuscitée ce week-end à Tokyo, en première mondiale, sous l’inspiration et la direction du chef américain Joshua Rifkin. »

21 Mar 2005

Dmitri Hvorostovsky in Recital

Dmitri Hvorostovsky is one of the finest singers we have, whether in opera, in song, or in oratorio. (Instead of oratorio, I should say Russian liturgical music – that is one of his real strengths.) We even hear Mr. Hvorostovsky in Italian popular songs. They’re not especially Italian, but they’re enjoyable. »

21 Mar 2005

Kafka's Trial Premieres in Copenhagen

The Danish composer Poul Ruders is one of contemporary music’s free agents—a lover of sweet melodies with a yen for dark chords, a comedian with a flair for apocalypse. His previous opera, “The Handmaid’s Tale,” made sonic thunder out of Margaret Atwood’s novel of a dystopian America ruled by Christian fundamentalists. His major orchestral pieces—“Thus Saw Saint John,” the “Solar Trilogy,” a First Symphony subtitled “Rejoicing from the Heavens, Grieving Unto Death”—unfold hypnotically wayward narratives that reel from antic joy to frozen despair. (There are excellent recordings on the Bridge and Da Capo labels.) Ruders has a special knack for reinventing familiar tonal harmonies and styles; he uses them sometimes to mourn lost worlds, sometimes to suggest otherworldly innocence, sometimes to convey the banality of evil. All these devices are hurled at the audience in his latest work, “Kafka’s Trial,” which had its première on March 12th at the Royal Danish Theatre. »

20 Mar 2005

Dvorák's Requiem in Munich

Schön ist, dass sich das Werk Einordnungen entzieht. Monumentalen Aufgipfelungen wie im “Tuba mirum” steht ein opernhafter Gestus gegenüber, volkstümliche Ausgelassenheit (“Quam olim Abrahae”) kontrastiert zu einem charakteristischen, herbstlich verhangenen Tonfall. Und verklammert wird alles durch ein immer wiederkehrendes, kurzes Motiv. Eine Umspielung des Tones “F”, Seufzer und sehnsuchtsvolle Gebärde zugleich. »

20 Mar 2005

Giordano's Andrea Chenier in Glasgow

IN this splendid concert version of Giordano’s most widely performed opera, Sir Richard Armstrong, the orchestra and chorus of Scottish Opera and an outstanding team of soloists provided some of the best moments of operatic verismo I have heard in an age. »

20 Mar 2005

Madama Butterfly at New York City Opera

The central image in Mark Lamos’s production of Puccini’s “Madama Butterfly” is a traditional Japanese house, magnified to the size of the New York City Opera stage. With its sliding doors, clean lines and open spaces, this set, designed by Michael Yeargan, is the very picture of clarity. And for Butterfly, everything within it – her life with Pinkerton, then the memory of that life and the promise of its resumption – is entirely clear. It’s the more complicated world outside that has turned murky, and by avoiding the clutter that often accrues to a “Butterfly” staging, Mr. Lamos has emphasized that tragic delusion. »

19 Mar 2005

Parsifal at La Fenice

Une tristesse flottait sur Venise en ce jour de la première de Parsifal à La Fenice, nouvelle production du chef-d’œuvre wagnérien depuis celle de Pier Luigi Pizzi en 1983. Temps instable au-dehors, vent de la révolte à l’intérieur : le syndicat autonome Libersind et les personnels du théâtre appelaient à la grève générale, le mardi 15 mars, pour protester contre leurs conditions de travail. »

17 Mar 2005

Faust at Opéra de Lille

Dans le Faust à l’affiche de l’Opéra de Lille, le véritable diable, c’est le metteur en scène écossais David McVicar. Grâce à son habileté méphistophélique, sa production peut plaire à tout le monde : à ceux qui rêvent de voir l’histoire racontée comme au bon vieux temps, sans relecture conceptuelle, et à ceux qui pensent qu’un tel morceau de patrimoine a besoin du second degré pour ne pas basculer dans le kitsch. Car dès le début de sa mise en scène, l’ironie règne en maître, même si l’on n’en prend conscience qu’à mesure que son bel univers se dérègle. Une loge de l’Opéra de Paris fait face à une tribune d’orgue d’église gothique : nous sommes bel et bien au théâtre, et si Méphisto a effectivement «la plume au chapeau et l’épée au côté», il les réajuste devant un miroir en pied avant de jouer ses tours. Des sortilèges qu’il extrait d’une malle à accessoires, tandis que Faust change d’aspect dans sa loge, face à une coiffeuse éclairée par des ampoules. »

17 Mar 2005

Martin's Golgotha in Vienna

Zuerst viele Jahre lang Schweigen. Dann einige Aufführungen hintereinander: Frank Martins Schicksal ist symptomatisch für die Repertoire-Restriktionen in Wien. Immer dieselben Dinge verkaufen sich. Bei einem Werk wie Martins Passions-Oratorium “Golgotha” verlassen Abonnenten den Goldenen Musikvereinssaal bei erster Satzpausen-Gelegenheit. Die Bereitschaft, sich zur gegebenen Zeit mit anderem als den Bach-Passionen auseinander zu setzen, ist enden wollend. »

16 Mar 2005

Per Questa Bella Mano at the Barbican

You don’t expect absurdity in a concert of Mozart arias and instrumental music, but in bass-baritone Thomas Quasthoff’s concert with the period-instrument Freiburg Baroque Orchestra, the highlight was a work of Pythonesque weirdness. »

16 Mar 2005

On Tour with William Christie

HOW refreshing, you think, as Les Arts Florissants bounds on stage, to see an early-music combo whose contracts appear to contain no clauses forbidding visits to hairdresser, shoe-shop and dressing-table, no injunctions to wear nothing but sacking and zit cream. How delightful, how French. With William Christie’s band, as Emcee in Cabaret might say, “Even ze orgestra is beaudiful.” »

15 Mar 2005

Carmen with a South African Twist

British director Mark Dornford-May’s daring transposition of Bizet’s opera to a South African township has landed him a major film award – and a new wife. He talks to Jasper Rees »