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Elsewhere

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

A Chat With Up-and-Coming Conductor Kathleen Kelly

Kathleen Kelly is an internationally renowned pianist, coach, conductor, and master teacher. She was the first woman and first American named Director of Musical Studies at the Vienna State Opera.

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.


OPERA TODAY ARCHIVES »

Performances

05 Feb 2016

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.  »

Recently in Performances

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30 May 2005

Cherubini's Medea at Toulouse

L’événement du mois, sinon de la saison, vient d’avoir lieu à Toulouse avec la nouvelle production d’un chef d’œuvre trop rarement joué : Medea de Luigi Cherubini. Avec, pour défendre le rôle-titre, l’éblouissante performance d’Anna Caterina Antonacci, couronnant une réalisation de tout premier plan, tant au niveau de l’Orchestre National du Capitole dirigé par Evelino Pidò, qu’à celui des mises en scène, décors et costumes signés Yannis Kokkos. Une réussite exemplaire dont il ne faudra pas rater la reprise au Châtelet de Paris dans le cadre de son annuel festival des régions.* Compositeur majeur, à la fois contemporain de Mozart – il était son cadet de quatre ans – et de Beethoven – né dix ans après lui -, injustement boudé par divers oukases de ces modes qui se suivent puis se démodent, il était l’homme de la maestria absolue, héritier de Gluck, mozartien dans l’air du temps, adepte de la rigueur classique et annonciateur visionnaire du romantisme. Autant d’éléments et de formes qui émaillent son œuvre prolifique (opéras, cantates, messes, sublime musique de chambre) comme Les Cailloux du Petit Poucet. Berlioz le railla, l’admira, l’imita… »

30 May 2005

Falstaff in LA

LOS ANGELES, May 29 – Portraying the title role of Verdi’s “Falstaff,” which opened at the Los Angeles Opera on Saturday, the bass-baritone Bryn Terfel is so irascible, nimble on his feet and altogether charming that he almost makes you forget how splendidly he sings the music. Yes, this Falstaff is a blowhard, a bald and broken-down knight, and a shameless moocher. »

29 May 2005

Mozart and Gluck in London

Did Mozart really think Cosi Fan Tutte was a comedy? Matthew Warchus didn’t seem sure when he created his ENO staging three years ago; but, even if Steven Stead’s revival doesn’t milk every gag in Jeremy Sams’ wonderfully witty translation of Da Ponte’s libretto, there are enough laughs to make you think he might have done. »

29 May 2005

Voigt and Heppner at Cincinnati's May Festival

Friday will go down in the annals as one of the most spectacular opera evenings ever at the May Festival. Two of the world’s greatest Wagnerian singers, soprano Deborah Voigt and tenor Ben Heppner, came together for the first time in Act II of “Tristan und Isolde,” a concert performance under the baton of James Conlon in Music Hall. It was one of those rare moments of music making that one feels lucky to witness, and the hall erupted in cheers for nearly 10 minutes at its conclusion. »

27 May 2005

Arabella at Châtelet

Il y a trois ans, l’Arabella de Richard Strauss mise en scène par Peter Mussbach avait été l’un des points culminants de la saison du Châtelet, mais avait divisé les esprits : certains avaient taxé de froideur le décor étonnant d’Erich Wonder, regrettant sans doute le rococo viennois. C’était oublier que le livret, laissé inachevé par Hofmannsthal, mort d’une apoplexie alors qu’il mettait son chapeau pour se rendre à l’enterrement de son fils, n’a strictement plus rien des stucs du Chevalier à la rose, mais éclaire avec cruauté le monde moderne des années 20 et sa décomposition sociale. Tout cela, ce hall de grand magasin avec ses escalators à l’endroit et à l’envers, le dit aussi bien que des personnages dont le rang social s’effrite sous l’assaut des névroses. Non seulement le spectacle n’a pas vieilli, mais il a gagné en concentration. »

27 May 2005

Fisting Macbeth in Frankfurt

It doesn’t matter who sings what. At some point, someone’s fist is up someone else’s rectum. Some of us were not even sure this was anatomically possible until the nihilistic Catalan director Calixto Bieito took up opera. Now it’s routine. »

27 May 2005

Die Zauberflöte at Baden-Baden

In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile. »

26 May 2005

Rigoletto at Teatro de la Ciudad

Por primera vez en México y con una producción fastuosa como se ha presentado en Nueva York se presentará en el Teatro de la Ciudad la ópera “Rigoletto” de Giuseppe Verdi. »

26 May 2005

Rigoletto in St. Louis

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park. »

23 May 2005

La Cenerentola at Glyndebourne

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there. »

23 May 2005

Die Zauberflöte at Glyndebourne

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth. »

22 May 2005

I Masnadieri at Liège, 21 May 2005

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers. »

22 May 2005

G&S at Opera Australia

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.” »

21 May 2005

Don Giovanni at Marseille

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about. »

20 May 2005

Susan Graham in Paris

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…» »

19 May 2005

Paul McCreesh Directs Bach's B Minor Mass

Paul McCreesh’s approach to Bach’s last major choral work is about as far removed as possible from traditional heavyweight performances of the B minor Mass, and distinctly different from the approach of many of his period-instrument peers as well. For this superbly energised account, the Gabrieli Consort consisted of just 10 singers, divided equally into a ripieno, which provided the soloists, and a consort, which joined in for the large-scale numbers. The orchestra was just over twice that size. This minimalist approach produced gains in equality between voices and orchestras, and marvellous clarity in the contrapuntal writing. It also enabled McCreesh to adopt tempi that would have had a larger choir tied in knots. »

19 May 2005

Der Ring at the Mariinsky

Hot on the heels of their marathon appearance at the Moscow Easter Festival, the artistic forces of St. Petersburg’s Mariinsky Theater are preparing for a return visit to Moscow. Starting Monday, they take to the main stage of the Bolshoi Theater with three evenings of ballet and a complete performance of Richard Wagner’s four-part operatic cycle “The Ring of the Nibelung.” »

19 May 2005

Britten's A Midsummer Night's Dream at COT

At first glance, Shakespeare’s “A Midsummer Night’s Dream’’ is a frothy tale, a story of youthful romance going charmingly awry. True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne’er did run smooth, and Shakespeare’s beleaguered lovers triumph in the end. »

18 May 2005

Sarah Connolly at Weill Hall

On Monday night at Weill Recital Hall—the lovely space upstairs at Carnegie—Sarah Connolly gave us one of the most satisfying events of the season. The English mezzo-soprano sang a diverse recital, offering Haydn, Brahms, Hahn, Korngold, and Weill (Weill at Weill!). This followed her debut at the Metropolitan Opera, as Annio in Mozart’s “Clemenza di Tito.” All in all, Ms. Connolly put in a very good month’s work in New York. »

18 May 2005

Lucio Silla at Wiener Festwochen

Nelle sue ultime dichiarazioni il nuovo sovrintendente della Scala Lissner ha spesso accennato, senza fare nomi, a cinque direttori d’orchestra, da lui ritenuti i migliori del mondo. Non siamo in grado di dire se Harnoncourt faccia parte di questa rosa, ma non esiteremmo ad affermare che nell’ambito dell’opera mozartiana il direttore austriaco abbia introdotto nuovi canoni interpretativi. Tra palco e buca, infatti, l’intesa è simbiosi. Il Concentus Musicus ha dimostrato di essere non solo ottimo complesso strumentale, ma anche eccelso apparato operistico. Harnoncourt dirige l’orchestra ascoltando le voci, senza mai coprirle, anzi assecondandone le virtù e sfocandone le debolezze, in un alternare continuo di livelli dinamici e sfumature timbriche. Tre ore e mezza di musica che non conoscono cali di tensione. »

17 May 2005

Verdi's I Masnadieri in Lüttich/Liège

Für Jean-Pierre Haeck war es eine gelungene Premiere. Für das Publikum war der Abend die Begegnung mit einem Höhepunkt des verdischen Belcanto, einer Oper, die zu unrecht ein wenig in Vergessenheit geraten ist. »

17 May 2005

Jenufa at El Liceu

El Liceu estrena esta noche Jenufa, una gran ópera del compositor checo Leos Janacek, con libreto de Gabriella Preissova, en una producción de la ópera de Hamburgo que se ha visto en el Covent Garden y el Metropolitan. »

17 May 2005

Cyrano at the Met

NEW YORK—There’s a line in Act 2 of Franco Alfano’s rarely heard opera “Cyrano de Bergerac” that marks a critical turning point in the sad story of a poet’s unrequited love: “The Tiger’s awakening.” It’s said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career. »