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Elsewhere

The Moderate Soprano : Q&A with Nancy Carroll and Roger Allam

Nancy Carroll and Roger Allam play Audrey Mildmay and John Christie in David Hare’s play The Moderate Soprano which is currently at the Duke of York’s Theatre in London.

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018.

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

No Time in Eternity: Iestyn Davies discusses Purcell and Nyman

Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

Garsington's Douglas Boyd on Strauss and Skating Rinks

‘On August 3, 1941, the day that Capriccio was finished, 682 Jews were killed in Chernovtsy, Romania; 1,500 in Jelgava, Latvia; and several hundred in Stanisławów, Ukraine. On October 28, 1942, the day of the opera’s premiere in Munich, the first convoy of Jews from Theresienstadt arrived at Auschwitz-Birkenau, and 90 percent of them went to the gas chamber.’

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?


OPERA TODAY ARCHIVES »

Performances

24 May 2018

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.  »

Recently in Performances

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16 Nov 2008

Lucrezia Borgia at the Washington National Opera

After a somewhat shaky start to the season, as my recently posted review of La traviata attests, Washington National Opera has added considerable luster to its roster this November with the infusion of spectacle and star power in two new productions.  »

16 Nov 2008

Wozzeck, Munich

Wozzeck stands ankle deep in water on the flooded stage of the Bavarian State Opera, above him hovers a huge, movable box – the dingy apartment he shares with Marie and their adolescent bastard – and he is surrounded by a freak-show worthy of a George Groszian nightmare and worse. »

13 Nov 2008

A powerful, poignant Elektra at the Royal Opera House, London

“This won’t be a total Schlacht of sound” said the director, Charles Edwards, of this production. Instead, it’s a strikingly intelligent interpretation, focusing on the deeper aspects of the drama. »

13 Nov 2008

Aïda – English National Opera, London Coliseum

It is incredibly unfashionable nowadays to stage opera straightforwardly. Welsh National Opera’s recent lavish staging of Otello prompted a dismissive reception from the critics.  »

09 Nov 2008

L’elisir d’amore in San Francisco

There are remnants of snobbery in San Francisco that are happiest when San Francisco Opera associates itself with the likes of Vienna State Opera and Covent Garden, and left positively frightened at the idea of a production from Opera Colorado/Fort Worth Opera/et al. on the War Memorial Opera House stage.  »

07 Nov 2008

The Pearl Fishers at Lyric Opera of Chicago

The current revival of Georges Bizet’s The Pearl Fishers at Lyric Opera of Chicago (seen 25 October) brings together an exceptionally strong cast.  »

07 Nov 2008

Houston brushes up its Shakespeare

In 1830, three years after the death of Beethoven and two after Schubert’s untimely demise, Berlioz, 27, dazzled the world with his phantasmagoric — perhaps drug-inspired — Symphonie fantastique.  »

04 Nov 2008

Boris Godunov at San Francisco Opera

As performed just now by the San Francisco Opera Mussorgsky’s initial (1869), seven scene version of Boris Godunov revealed itself a finished masterpiece.  »

04 Nov 2008

Rusalka and La tragedie de Carmen by English Touring Opera

Of their two tours per year, English Touring Opera tends to channel the majority of the budget into the Spring season, and the Autumn tour – despite a focus in recent years on some high-quality Baroque chamber works, which lend themselves well to the size of the venues around the UK which the company visits – can be rather noticeably the poor relation.  »

04 Nov 2008

Elektra at Royal Opera House

“Opera directing is very different to theatre directing”, says Charles Edwards, director of Elektra at the Royal Opera House this season. “It has to be the music that motivates you”. For this production, he works with Mark Elder, “an extraordinarily theatrically-minded conductor who sees theatre in everything he hears”. »

02 Nov 2008

The Tsar’s Bride by OONY

What opera contains a terrific overture, a wedding sextet, two murderous magical potions, a mad scene for coloratura soprano, a magnificent a cappella aria for contralto, dozens of glorious melodies and lots of nifty choral writing?  »

02 Nov 2008

Blond Leading the Blond: Scandinavia Times Three

I was just itching to experience the new Oslo Opera House ever since I saw the pictures of its grand opening (ahead of schedule, thank-you-very-much) last April.  »

02 Nov 2008

Boston Baroque’s Xerxes shows the way

Is Boston Baroque period performance’s best kept secret?  »

31 Oct 2008

Lucia di Lammermoor at the MET

Mary Zimmerman’s unmusical production of Lucia certainly improves if you give it a cast of singers who know what Donizetti is about. »

31 Oct 2008

Don Giovanni at the MET

The fascination of Don Giovanni lies not only in the bejeweled score but in the interplay of its eight intriguing characters, each based on an ancient type, yet each somehow cut loose from the formula da Ponte molded so well.  »

24 Oct 2008

Falstaff at Pimlico Opera, Cadogan Hall

Pimlico Opera is based at the Grange in Hampshire, home of the Grange Park opera festival, but pre-dates its sister company by a decade and has been giving national tours of popular operas since the 1980s as well as doing some pioneering opera and music theatre projects in UK prisons. »

24 Oct 2008

Paris Opera’s new production of The Cunning Little Vixen has a lot going for it.

The good news (make that “great news”) is that conductor Dennis Russell Davies had total command over this ever-shifting composition, one minute lyrical and introspective, the next soaring and rhapsodic, the next percussive and agitated.  »

23 Oct 2008

Turandot without the trimmings

In recent years it’s the headgear of the ice-hearted princess that is often the major source of awe and excitement in productions of Puccini’s incomplete final opera.  »

23 Oct 2008

Cervantino pays homage to Catalonia

Joanot Martorell’s 1490 “Tirant lo Blanc” isn’t on anyone’s reading list these days, and that’s rather a shame, for it — the first Catalan novel — was a favorite book of Miguel de Cervantes.  »

21 Oct 2008

Idomeneo in San Francisco

Munich in 1781 was hardly the big city, not an enlightened Paris where Gluck had recently turned the opera world on its ear, not a European capital like Vienna where Italian operatic imperialism was unassailable.  »

21 Oct 2008

Alessandro Scarlatti: Il Trionfo della Santissima Vergine Assunta in Cielo

“One can easily imagine -- Berkeley professor Donald J. Grout wrote in 1979 -- a Scarlatti oratorio occasionally being sung in church or in concert […], but it is more difficult (though perhaps not quite impossible) to imagine a Scarlatti opera being staged at a modern opera house”.  »

21 Oct 2008

Partenope — English National Opera, London Coliseum

In this new staging of Handel's comic rarity for English National Opera, director Christopher Alden has chosen to tell the classical tale of amorous and political intrigue through the world of the artistic elite of the 1920s/30s.  »

21 Oct 2008

La Traviata at the Washington National Opera

Staging La traviata for an opera company these days is an experience akin to that of a symphony’s orchestra programming Mozart: a great idea fraught with disaster.  »

21 Oct 2008

Salome at the MET

We ought to consider – as opera’s current reigning soprano, Karita Mattila, has certainly considered, though I’m not so sure about director Jürgen Flimm – who, what, and how old Salome is.  »

21 Oct 2008

La Gioconda at the MET

It probably wasn’t intended as a symbol of anything in particular, but at the end of Act II, midway through the October 6 performance of La Gioconda, Enzo’s ship failed to burst into flames, thereby letting the curtain down most unsatisfactorily on what is usually one of the liveliest act finales in grand opera. »

21 Oct 2008

Le Roi d’Ys at Avery Fisher Hall

By the time he completed Le Roi d’Ys, in 1888, Edouard Lalo was sixty-five, approaching the end of a successful career as a chamber violinist.  »

21 Oct 2008

Manon at Lyric Opera of Chicago

A funny thing happened on the way to the convent. Manon Lescaut, a pretty little girl with a taste for pretty things, became sidetracked by a pretty young man.  »

08 Oct 2008

Cavalleria rusticana/Pagliacci — English National Opera, London Coliseum

For the opening of the 2008/09 season at ENO, Richard Jones has teamed up with two separate theatrical writers, Sean O'Brien and Lee Hall, to create unique new versions of the repertoire's most famous double bill. »

06 Oct 2008

The Barber of Seville — English National Opera, London Coliseum

It can be difficult to inject life into a production which has been a staple of a company’s repertoire for over twenty years. »

06 Oct 2008

Macbeth at Bavarian State Opera

If Munich’s new Macbeth production does anything, it stirs emotions and draws heated response. »

06 Oct 2008

On The Bonesetter’s Daughter

Decades ago a New Yorker cartoon showed a very little girl standing on tip-toe to return a book to a matronly librarian. »

03 Oct 2008

Die tote Stadt at San Francisco Opera

Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works. »

29 Sep 2008

Les Pêcheurs de perles at the Washington National Opera

The second offering of the current WNO season is a San Diego Opera production of Georges Bizet’s Pearl Fishers (1863). »

28 Sep 2008

Cool Cavalli at Covent Garden — La Calisto

Planet Earth laid waste by forces beyond our control, hunger and drought squeezing humanity out of existence whilst those in charge look on, laughing, lusting and concerned only with their own power struggles – does this sound familiar? »

22 Sep 2008

Paer’s Leonora from Bampton Classical Opera

Musically and dramatically Ferdinando Paer’s Leonora and Beethoven’s Fidelio might be said to belong respectively to pre- and post-revolutionary ages. »

22 Sep 2008

Puccini's Il Trittico at Los Angeles Opera

A few seasons back, Los Angeles Opera invited William Friedkin to direct a double-bill of Bartok's Bluebeard's Castle and Puccini's Gianni Schicchi. »

19 Sep 2008

Oresteia at Miller Theatre

Iannis Xenakis once stood among the leading composers of the avant-garde, mentioned in a (long, drawn-out, amelodic, taped and fed back) breath with Babbitt, Berio, Boulez, Henze, Penderecki and Stockhausen: internationally famous among academics, ignored or deplored by the concert-going public. »

16 Sep 2008

Prom 61 — Verdi's Requiem

The Verdi Requiem is a regular feature at the Proms, having appeared every few years in past decades, usually to full houses. »

16 Sep 2008

Prom 51 — St. John Passion

Sunday 24th August at the Proms promised a day dedicated to the music of Bach, beginning with an organ recital in the afternoon by Simon Preston and ending with a late-night performance of the first three of the six Cello Suites by Chinese cellist Jian Wang by way of a palate-cleanser. »

14 Sep 2008

The Second to Last Night of the Proms – Beethoven’s 9th Symphony

The Last Night of the Proms is notorious because it’s an excuse for jingoistic excess. »

09 Sep 2008

Prom 70 — St François d’Assise

Even a concert performance of Messiaen’s St François d’Assise could hardly fail to be an event. »

08 Sep 2008

“Great Performances” remembers Pavarotti — What remains is the voice.

Luciano Pavoritti died on September 6, 2007. The all-too-ample figure and the fables associated with him are already retreating from memory. »

08 Sep 2008

Cecilia Bartoli at the Musikverein Wien

Every time an artist walks onto the performance stage, he or she attempts to give the performance of their lives, focusing on everything they have learned prior to, and giving of themselves in an unprecedented way. »

07 Sep 2008

Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky

Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ? »

07 Sep 2008

The Coronation of Poppea

The startup of a new opera company is always cause for cheering; it is getting harder and harder (that is, more and more expensive) to do, especially in New York. »

07 Sep 2008

Prom 64 — Rattle conducts the Berlin Philharmonic in Messiaen’s Turangâlìla-symphonie

Because Turangâlìla is such a panorama, taking in Hollywood, Hindus and Peruvians, Wagner and Gurrelieder, it’s easy to assume it’s all surface Technicolor. »