Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!


OPERA TODAY ARCHIVES »

Performances

Apollo, Euterpe, Melpomene (Gwawr Edwards) and Erato
19 Sep 2014

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.  »

Recently in Performances

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14  |  15  |  16  |  17  |  18  |  19  |  20  |  21  |  22  |  23  |  24  |  25  |  26  |  27  |  28  |  29  |  30  |  31  |  32  |  33  |  34  |  35  |  36  |  37  |  38  |  39  |  40  |  41  |  42  |  43  |  44  |  45  |  46  |  47  |  48  |  49  |  50  |  51 
10 Feb 2005

Don Giovanni at Toulouse Disappoints Le Monde

Une vague forme humaine étendue dans la pénombre – gisant, dormant ? C’est Leporello. A côté, le fameux livre de comptes de Don Giovanni – mille et deux conquêtes. Quelque part, la mille troisième est en train de se faire “inscrire” : Donna Elvira. La voilà d’ailleurs qui surgit, hors d’haleine, tâchant de démasquer son violeur. Entre rêve et réalité, monde intérieur et espace externe, Brigitte Jacques-Wajeman, qui signe là sa première mise en scène d’un opéra du répertoire, a choisi de confronter le désir vital à l’inconscient mortifère (les mortes eaux de décors en noir et blanc). »

10 Feb 2005

Reviving Mendelssohn's Revival

On March 11 1829 a marker was set down in musical history, when the 20-year-old Mendelssohn realised an ambition to give the first performance in “modern” times of Bach’s St Matthew Passion – a scheme dismissed by his elders as the fantasy of a couple of “snotty-nosed brats”. »

09 Feb 2005

La Clemenza di Tito — Another View

“Classy” is not a word we have come to associate with English National Opera in recent years. Populist, perhaps. Attention-seeking, certainly. But with Mozart’s late opera seria, ENO returns to the old-fashioned virtues of ensemble, intelligibility, beauty, truth. They should be obvious, shouldn’t they? But we rarely encounter them in harmony, as we do here in a production directed by David McVicar, conducted by Roland Böer and shared with the Royal Danish Opera. »

08 Feb 2005

Glass's Akhnaten in Boston

The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass’s Akhnaten last week five years to the day after the work’s Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass’s work could be had. »

08 Feb 2005

Prokofiev's The Love for Three Oranges in Toronto

When you hear a stage prince sing, “Dear orange, we’re finally alone together, just you and me,” you know you’re not listening to the usual grand-opera fare. But, then again, Opera In Concert is not about presenting the Opera America Top 10 list. »

08 Feb 2005

David Daniels in Salt Lake

Even if you have heard a countertenor sing before – and judging from intermission chatter Saturday in Libby Gardner Hall, not many people have – you’ve never heard anyone sing like David Daniels. Daniels, credited with helping revive interest in early operas as well as the countertenor voice, wowed the Libby Gardner crowd with his versatility, stage presence and genre-transcending musicianship. Mozart’s Lieder, Fauré art songs, arias by Handel and Purcell, American folk songs and contemporary music: Daniels brought something distinctive and compelling to them all. »

08 Feb 2005

Christine Schäfer Leaves Lasting Memories in New York

In the early days of the early music movement, ensembles and artists competed with one another over who knew the most about performance styles of the Baroque and Classical eras. The authenticity sweepstakes still goes on. But such insight takes you only so far. I’m sure the musicians of the renowned Freiburg Baroque Orchestra from Germany are as informed about early music performance practices as comparable ensembles. But what made their concert on Sunday afternoon at Alice Tully Hall so gratifying was the vitality and imagination of their playing – qualities that transcend any era. »

08 Feb 2005

La Clemenza di Tito at ENO

Mozart’s La Clemenza di Tito was written to celebrate the coronation of the Habsburg emperor Leopold II as king of Bohemia in 1791. The date, two years after the French Revolution, is significant. Depicting a botched attempt to assassinate the Roman Emperor Titus, and his subsequent refusal to execute the conspirators, the opera examines the implications of the idea of benevolent autocracy and draws the conclusion that enlightened government necessitates absolute solitude and emotional isolation. »

08 Feb 2005

Nina Stemme as Marguerite in Frankfurt am Main

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods “Faust” in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim. Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im “Ring”. Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt. »

07 Feb 2005

Arabella at Bayerische Staatsoper

Beste Stimmung im Nationaltheater. Und das nicht nur, weil auf der Bühne jahreszeitlich korrekt der Fasching tobte. Nein, nicht die bunten Luftschlangen und närrischen Hütchen peppten den Abend auf, sondern die Sänger. Sie heizten mit ihrem Totaleinsatz die x-te Repertoirevorstellung von Richard Strauss’ “Arabella” so an, dass das Abo-Publikum seine helle Freude hatte. Münchner Opernalltag, der im großen Jubel endete. »

06 Feb 2005

Handel's Julius Caesar in Denver

Stephanie Blythe recalls exactly where she was 10 years ago when she fully grasped the power of great acting in opera. Then an apprentice artist at the Metropolitan Opera in New York City, the mezzo-soprano was standing offstage about 25 feet from famed tenor Placido Domingo as he sang a love duet in “Die Walküre” with soprano Deborah Voigt. »

06 Feb 2005

Carmen at Opera Australia

IT would come as a shock to opera-goers if the cast of Carmen were suddenly to break into a chorus of Sisters are Doing it for Themselves. They might be forgiving, however, once they heard the gospel-tinged tones of American mezzosoprano Andrea Baker, who sings the title role in the Opera Australia production that begins a six-week run under the baton of Russian conductor Alexander Polianichko at the Sydney Opera House tonight. »

06 Feb 2005

Venus and Adonis at Seattle

It may not have been the best of times or the worst of times, but it was certainly among the naughtiest of times. Restoration England, which marked the end of Cromwell’s Puritan regime with the accession of merry monarch Charles II, was an era that makes Paris Hilton seem like a convent girl and “Sex and the City” like a school picnic. In Charles II’s reign, all the prohibitions of Cromwell’s era were repealed; the theaters were reopened, low-cut lace replaced buttoned-up wool, and the royal motto was evidently “thou shalt party hearty.” »

06 Feb 2005

Gruberova Performs Norma at the Wiener Staatsoper

Für Edita Gruberova hat die Staatsoper eine konzertante Fassung von Vicenzo Bellinis “Norma” aufs Programm gesetzt. Endlose Begeisterung, Blumen, Stan ding ovations dankten Edita Gruberova und ihren Mitstreitern für einen packenden Opernabend, der die szenische Aufbereitung keinen Augenblick vermissen ließ. Gerne verzichtete man darauf, die zeitgebundene Schauerromantik der Druiden und ihrer Opferriten anno 50 v. Chr. leibhaftig vor sich zu sehen. Und mehr noch: Keine Regie-Eitelkeit lenkte von der puren Musik ab. »

05 Feb 2005

Das Wachsfigurenkabinett at the Münchner Reaktorhalle

Ein buntes Schaubudenprogramm, anmoderiert von zwei Damen in knackigen Kostümen, so präsentieren sich die fünf Kurzopern von Karl Amadeus Hartmanns “Das Wachsfigurenkabinett” in der Münchner Reaktorhalle (Regie: Stefan Spies). Der Inszenierung des ersten Stücks “Der Mann, der vom Tode auferstand” fehlt noch Witz und Schwung. Die Geschichte vom reichen Fabrikanten, der vor seinem Radiogerät einschläft und das Hörspiel von der Arbeiterrevolution für Wirklichkeit hält, leidet an den Schaufel schwingend auftretenden, plump marschierenden Arbeitern. »

05 Feb 2005

Star Cross'd Lovers In LA

Stale marzipan it may be, but given the appropriate set of protagonists, Charles Gounod’s ponderous 1867 adaptation of Shakespeare’s youthful tragedy still has the power to arouse the senses and engage, if not engulf, the soul. In Rolando Villazón and Anna Netrebko, the Los Angeles Opera has found doomed lovers who are as much star material as “star cross’d”. Whatever else is lacking in the first west coast production of the opera here in 18 years, the Mexican tenor and Russian soprano radiate youthful ardour, stylistic sophistication and sheer theatrical magic. »

04 Feb 2005

Democracy: An American Comedy in Washington

How is it possible that a new opera crammed with hot-button subjects—political corruption, ecclesiastical self-satisfaction, feminism, homosexuality—could be a blandly inoffensive entertainment? “Democracy: An American Comedy,” by composer Scott Wheeler and librettist Romulus Linney, commissioned by the Washington National Opera and given its world premiere last weekend, was disappointingly safe. Its provocative themes were smothered by a talky libretto that alternated between earnest exposition and sitcom jokes, set in smoothly tonal, insipid musical language. »

04 Feb 2005

An Evening of Soprana and Mezzo Duets at the Barbican

There are many profound experiences to be had in a concert hall, but an evening of soprano and mezzo duets isn’t one of them. Still, on the disc they brought out last autumn, Barbara Bonney, Angelika Kirchschlager and accompanist Malcolm Martineau managed to pick out some of the more interesting numbers in this frothy repertoire. Many of those made it into this recital – along with lashings of sugary charm, a few girly hugs and a line in the programme from Kirchschlager about how it wasn’t only their voices fitting together but their souls, too. Yeuch. »

01 Feb 2005

Thomas Hampson in Düsseldorf

Düsseldorf. Das Lied gehört zu den konzentriertesten Kunstformen überhaupt. Es ist einerseits, wie Thomas Mann sagte, “eine ganze Welt”, andererseits nimmt es nur wenig Zeit in Anspruch und bedarf lediglich zweier Musiker. Text und Musik vereinigen sich zu einer synchronen Sprache, die menschliches Empfinden in potenzierter Intensität ausdrückt. Aber das Lied ist auch eine für die Ausführenden anspruchsvolle Gattung. »

01 Feb 2005

Vivaldi's Farnace at Resonanzen 2005

Dreizehn als Glückszahl: Das 13. Festival Alter Musik wird in die Annalen des Wiener Konzerthau ses als besonders geglückt eingehen. Das kenntnisreich zusammengestellte Programm deckte nahezu alle wesentlichen Epochen, Nationalstile und Klangmöglichkeiten Alter Musik ab; fast durchwegs gut gewählt waren die Interpreten, und der Almanach könnte so manches historische und musikgeschichtliche Handbuch ersetzen. »

01 Feb 2005

Doina Dimitriu Wows Chicago

The season’s first performance of Puccini’s “Tosca” at Lyric Opera on Monday night brought an authentic slice of operatic history to the Civic Opera House: The vintage production director Franco Zeffirelli mounted in 1964 for London’s Royal Opera to lure Maria Callas out of semi-retirement. Tito Gobbi, the great Scarpia of his generation, was her co-star. The well-worn staging has done honorable service for more than 40 years, having seen 38 revivals and 242 performances before it was finally retired in July. The classic production was promptly bought lock, stock and battlements by Lyric Opera, which is dedicating it to Gobbi’s memory. »