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Elsewhere

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

On The Death of Klinghoffer

This is a revised version of my review of the Sept 5th 1991American premiere of The Death of Klinghoffer, at the Brooklyn Academy of Music. The opera was first performed at Brussels’ La Monnaie the previous spring.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

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.


OPERA TODAY ARCHIVES »

Performances

Amanda Majeski as Countess Almaviva, Marlis Petersen as Susanna, Ildar Abdrazakov as Figaro, and Peter Mattei as Count Almaviva [Photo by Ken Howard/Metropolitan Opera]
28 Oct 2014

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece »

Recently in Performances

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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. »

01 Feb 2005

La Traviata at Covent Garden

Verdi demanded three qualities for his “fallen woman”: looks, anima (soul) and a good stage presence. What he did not want was a glossy prima donna. The part broke convention not just histrionically, in its depiction of a contemporary prostitute, but also vocally. It needs a soprano agile enough to throw off the Act 1 coloratura, and strong enough to meet the dramatic requirements of Acts 2 and 3. That’s asking a lot, and most sopranos fall short. So it was fascinating, at the Royal Opera’s latest revival on Saturday, to come across Norah Amsellem. She has period looks, a pretty smile, a malleable physiognomy. She knows how to adapt her whole demeanour to Violetta’s changing situation, so that the figure we behold on stage is not an opera singer but a human being with the power to disarm us emotionally. That may be a gift of acting, but it also reflects Amsellem’s complete identification with the music. Her soprano is a bit one-dimensional, especially at the top, and she proved a surprisingly plain letter-reader. In all other set-pieces she had the theatre spellbound. “Dite alla giovine” and “Addio, del passato” were especially effective: Amsellem sang them in a beautifully controlled half-voice, stretching the tempo to its very limit. Some might call it self-indulgent; to me it sounded like the truth. »

31 Jan 2005

La Forza del destino at Opéra Royal de Wallonie

So this was how a Forza would have sounded in the fifties and sixties in one of the better Italian provincial houses. At that time those extinguished species (lirico-spinto tenor and soprano) were still in abundant supply and one could easily hear nowadays forgotten names like Zambruno, Mori, Vicentini, Borso on the male and Mancini, De Osma, Barbato etc on the female side: big booming voices, maybe not always very subtle but steeped in the Verdian tradition and not afraid to give unstintingly all of their voices as if there is no tomorrow. »

29 Jan 2005

Barbiere in Madrid

Rénové en 1997 avec un luxe inouï, le Teatro Real de Madrid ne lésine pas non plus sur la qualité des productions. Du rare Osud de Janacek en 2003, marqué par la qualité de la mise en scène de Bob Wilson, de l’orchestre et de la distribution vocale, ne reste que des souvenirs et des photographies, faute de producteurs intéressés par la réalisation d’un DVD. Ce ne sera pas le cas de ce nouveau Barbier de Séville, dévoilé il y a quelques jours, diffusé par Arte dans une semaine, et bientôt dans les bacs. En filmant trois représentations successives, l’ambition est d’offrir le meilleur Barbier en DVD du marché. »

28 Jan 2005

Don Giovanni in Baltimore

The elegantly regilded Hippodrome Theatre could be mistaken for an old-world opera house. On Wednesday night, for three hours at least, that’s exactly what it was. Teatro Lirico D’Europa — administratively based in Hunt Valley — presented a fully staged production of Don Giovanni that offered sufficient entertainment value and demonstrated the theater’s flexibility. »

28 Jan 2005

Poppea at Palais Garnier

Parisians do not like camp. David McVicar’s production of Monteverdi’s last opera was jeered in October at the Théâtre des Champs Elysées and now David Alden has met the same fate. This is unfair because his use of radical kitsch is altogether more sophisticated and his manipulation of the singers faultlessly choreographed. In any case, this classic staging dates from 1997, when it was first seen in Cardiff and Munich. McVicar’s approach now looks like a pale copy of an industry template. »

27 Jan 2005

Singing Ives

In 2004, festivals and concerts commemorated the 50th anniversary of the death of Charles Ives, an insurance executive from Danbury and arguably America’s greatest native-born composer. Tonight and Sunday at Wesleyan University’s Crowell Recital Hall, the tribute will continue with the first of several recitals surveying Ives’ 129 songs. »

27 Jan 2005

Siegfried's Id

Richard Wagner loathed the first performances of Der Ring des Nibelungen, which he scrabbled together at his own theatre in 1876. “Next year we’ll do everything differently,” was the mildest comment he had to offer, and the most convenient for directors eager to distinguish their Ring productions from all others. »

27 Jan 2005

The Tsar's Bride in Moscow

Following its disastrous staging last April of Georges Bizet’s “The Pearl Fishers,” I had high hopes that Novaya Opera would get itself back on track by turning to a classic of Russian opera for its next production. But, at its debut last Sunday, the theater’s new version of Nikolai Rimsky-Korsakov’s “The Tsar’s Bride” proved, if not a disaster, at least a major disappointment, due mainly to the muddled stage direction of Yury Grymov and the theater’s decision to discard as much as a third of the opera’s music. »

27 Jan 2005

Agony and Ecstasy in LA

Nearly a century separates the two beguilements installed at the Music Center in recent weeks: Giuseppe Verdi’s Aida of the 1870s and Luciano Berio’s Laborintus II of 1965. Nobody would mistake the style or purpose of the one for the other; they are both shrewdly welded to the taste of their respective times. Something grander links them – an innately Italian sense of theater that unites all the arts of the region into a single onrush of word, music and movement. To the north, Richard Wagner made a great fuss as he dreamed up his “total artwork” concept with ream upon ream of explanatory philosophy. To the Italian spirit, that unity of the expressive arts was simply a form of breathing. Petrarch, Monteverdi, Tintoretto, Berio . . . just the names by themselves take on a theatrical dimension. »

25 Jan 2005

Kát’a Kabanová at Staatsoper Unter den Linden

Ihre Ruh’ ist hin, ihr Herz ist schwer. Die junge Frau im gelben Sommerkleid duckt sich in ihrem Stuhl, drückt die Hände in den Schoß, blickt nach oben. Diesmal ist es nicht Goethes Gretchen, das hier – um im jüngsten Grass-Jargon zu bleiben – “verthalheimert”, sprich: auf ihr sprachliches und inhaltliches Gerüst skelettiert wurde. Es ist die Kaufmannsgattin Katja Kabanova, die ihre einzige Sehnsucht, die Liebe zum schwächlichen Boris, mit dem Leben bezahlt und in die Wolga geht. So steht es in Alexander Ostrowskis Theaterstück “Das Gewitter” von 1859 geschrieben. Welches Michael Thalheimer, der kühlkopfige Minimalist unter den tonangebenden Theaterregisseuren, sicherlich auf das Wesentliche zurechtzustutzen vermocht hätte. Ohne russische Folklorismen und Nebenhandlungen, nackt, statisch, als pure Versuchsanordnung. »

25 Jan 2005

Il Trovatore at Houston

The opening-night audience for Houston Grand Opera’s revival of Il Trovatore had one thing on its mind: grabbing every chance to cheer the familiar tunes that propel Verdi’s dramatically awkward piece. As soon as soprano Sondra Radvanovsky finished Leonora’s first big aria, the bravos let loose — far more intensely than usual in the middle of a performance. The ache to approve a style of music many people view as true “grand” opera continued right up to the curtain calls. Then, the crowd unleashed cascades of applause and yells. »

24 Jan 2005

Schumann's Genoveva at Volksoper Wien

Robert Schumann hat seine Spitzenposition in der Musikhistorie: herrliche Symphonien, wunderbare Kammermusik, großartige Lieder. Doch er hat auch eine Oper hinterlassen: Genoveva. Eine Komposition auf ein eigenes, ungelenkes Libretto, das durch die Zeiten geistert und weder sanfte Ruhe noch dauerhafte Wiederbelebung erfahren kann. »