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Elsewhere

London Bel Canto Festival 2019: an interview with Ken Querns-Langley

“Physiognomy, psychology and technique.” These are the three things that determine the way a singer’s sound is produced, so Ken Querns-Langley explains when we meet in the genteel surroundings of the National Liberal Club, where the training programmes, open masterclasses and performances which will form part the third London Bel Canto Festival will be held from 5th-24th August.

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

The Royal Opera Tours to Japan in September 2019

The Royal Opera is delighted to be returning to Japan in September 2019 as part of an exciting year of UK-Japan exchanges, titled UK in Japan 2019-20, following the Company’s hugely successful tour in autumn 2015.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

Longborough Festival Opera announces collaboration with The Academy of Ancient Music in 2020

Longborough Festival Opera will collaborate with the Academy of Ancient Music (AAM) for its production of Monteverdi The Return of Ulysses in 2020. Robert Howarth will conduct Monteverdi’s beautiful, compassionate drama, with Tom Randle in the title role.

Don Giovanni at Garsington Opera

A violent splash of black paint triggers the D minor chord which initiates the Overture. The subsequent A major dominant is a startling slash of red. There follows much artistic swishing and swirling by Don Giovanni-cum-Jackson Pollock. The down-at-heel artist’s assistant, Leporello, assists his Master, gleefully spraying carmine oil paint from a paint-gun. A ‘lady in red’ joins in, graffiti-ing ‘WOMAN’ across the canvas. The Master and the Woman slip through a crimson-black aperture; the frame wobbles.

A brilliant The Bartered Bride to open Garsington's 2019 30th anniversary season

Is it love or money that brings one happiness? The village mayor and marriage broker, Kecal, has passionate faith in the banknotes, while the young beloveds, Mařenka and Jeník, put their own money on true love.

A reverent Gluck double bill by Classical Opera

In staging this Gluck double bill for Classical Opera, at the Queen Elizabeth Hall, director John Wilkie took a reverent approach to classical allegory.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.


OPERA TODAY ARCHIVES »

Performances

13 Jun 2019

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods. »

Recently in Performances

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25 Oct 2009

Baldassare Galuppi: Jahel

Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls at the Incurabili, one of Venice’s four competing Ospedali or musical orphanages, admired both their excellent performing standard (“indeed all were such as would have merited and received great applause in the first operas of Europe”), and the quality of the music that the aging maestro was still able to write for them: “ it is generally allowed here that his last operas, and his last compositions for the church, abound with more spirit, taste, and fancy, than those of any other period of his life”. »

25 Oct 2009

La Fille du Régiment in San Francisco

There is a buzz of excitement in the War Memorial Opera House on Friday nights that is akin to the Saturday afternoon buzz at the Met.  »

25 Oct 2009

Ruxandra Donose stars in L'heure Espagnole at the Royal Opera House

Ruxandra Donose sings Concepción in Ravel's L'heure Espagnoie in a double bill with Gianni Schicchi at the Royal Opera House. Concepción is an unusual personality, so Miss Donose's characterization is interesting.  »

25 Oct 2009

Achim Freyer's production of Wagner's Siegfried at Los Angeles Opera

Saturday October 17th found the Los Angeles Dodgers out of town for the weekend, but traffic still clogged the freeways leading to their stadium.  »

20 Oct 2009

Brilliantly Simple 'Tolomeo' by ETO

ETO’s production of Tolomeo for one night only at the Britten Theatre, capitalizes brilliantly on the necessary simplicity of this chamber-like opera, written at a time when Handel could no longer call upon fabulous sets and stunning effects, relying only upon great singing - and what singers he wrote it for, in fact the grand trio of Senesino, Cuzzoni and Bordoni. »

19 Oct 2009

Tosca at Lyric Opera of Chicago

For the first production of its 55th season Lyric Opera of Chicago has staged a revival of Puccini’s Tosca with a cast of notable singers led by music director Sir Andrew Davis.  »

16 Oct 2009

Fervaal by Vincent d’Indy

Vincent d’Indy lived eighty years and, when not composing, spent his time revising the teaching of music in France or simply annoying everybody. »

15 Oct 2009

Aida at the MET

Noblesse oblige: The Met feels it must present Aida — and Tosca — and La Bohème — and certain other gaudy spectacles — because it’s the Met and everyone expects the grandest of the grand.  »

13 Oct 2009

Abduction from the Seraglio in San Francisco

Some of the more memorable achievements of San Francisco Opera occurred in the brief life-span of its Spring Opera season, 1961-1981. »

13 Oct 2009

Turandot at ENO

A writer goes to dine in an urban Chinese restaurant, where his eye is caught by a distressed young woman among the crowd of diners.  »

13 Oct 2009

‘10 for 10’ recital gets 10 out of 10 for performance and audience

The Wigmore Hall never stands still: not content with having increased its audience by 300% over the past year, it now seeks both to reward its loyal patrons for their support in acquiring the Lease, and to bring in new audience members, with an innovative series of ten concerts where all the seats are priced at £10. »

13 Oct 2009

Il Barbiere di Siviglia at the MET

Bartlett Sher’s production of Il Barbiere di Siviglia has proved one of the more admired stagings of the Peter Gelb regime, but I’ve avoided it due to a surfeit of Barbieres and to fond memories of the John Cox production on Robin Wagner’s delicious turntable set, about as ideal a Barbiere as could be imagined.  »

11 Oct 2009

Wozzeck in designer khaki : Salonen and Keenlyside in London

In the opera house, stagings can impress by gorgeous sets and costumes. But in semi-staged performances, there's no where to hide behind. Semi-staging tests whether a director understands the music and what its dramatic soul might be. In dramaturgy, less is more.  »

11 Oct 2009

Don Carlo at Covent Garden

The full five-act version of Verdi’s historical epic, Don Carlo, makes for a long evening, but thanks to some fine singing and to the driving sweep of the baton of Semyon Bychkov this four-and-a-half hour performance raced by.  »

11 Oct 2009

Rigoletto at ENO

There is something quote refreshing about the fact that a staging as characterful as Jonathan Miller's 27-year-old “New York Mafia” Rigoletto is the nearest thing to a warhorse that ENO has in its repertoire.  »

11 Oct 2009

Il trittico in San Francisco

In the otherwise silent sixteen years between La fanciulla del west (1910) and Turandot (1926) Puccini had a flirtation with operetta, La rondine (1917) and with the quick and easy drama of the short story in his three one-acts, Il trittico (1918), composed as a one-evening cycle. »

11 Oct 2009

Orfeo at La Scala

Robert Wilson staged Salome at La Scala in 1987, installing a troop of student actors on the stage to enact some sort of abstract action flow that had no discernible relationship to the Salome libretto, meanwhile sung by concert dressed opera stars huddled on a corner of the stage.  »

11 Oct 2009

Los Angeles “Ring” continues to amaze

It’s three down and one to go in the first-ever staging of Richard Wagner’s Ring des Nibelungen at Los Angeles Opera. Following the premiere of Siegfried, the third installment of this epic work of music theater, it’s clear that director/designer Achim Freyer is a hands-down winner. »

09 Oct 2009

Tosca at the MET

In the end the performance does not rescue the dreary new production — still, the reason to visit the Met’s new Tosca is Karita Mattila’s bravura if wrongheaded interpretation of the title role. »

06 Oct 2009

Imogen Cooper's Birthday at the Wigmore Hall

This wasn't an ordinary concert but something very special. The Wigmore Hall was honouring Imogen Cooper on her 60th birthday. She is greatly loved here, both as soloist and as partner in song recitals. The atmosphere was electric. The house was packed, with many famous pianists and singers in the audience. It was a historic occasion, but it felt like a party among friends. »

04 Oct 2009

Il trovatore in San Francisco

SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.  »

03 Oct 2009

Tristan und Isolde more rooted in tradition than meets the eye

Over 100 years ago, Adolphe Appia sketched designs for Tristan und Isolde that have influenced theatre design from Alfred Roller to Wieland Wagner. Appia's vision came to life on stage at the Royal Opera House this week. This new production has far deeper roots in tradition than its detractors realize.  »

30 Sep 2009

San Francisco Opera: Puccini's Il Trittico and Verdi's Il Trovatore

The complexity of staging Puccini's evening of three one-act operas, Il Trittico, has kept this masterpiece from appearing on opera stages as frequently as, say, Turandot or Tosca.  »

24 Sep 2009

Incomparable Schubert — Goerne at the Wigmore Hall Part 2

This programme of mostly solemn, elevated music based around songs on such themes as Evening, Death and Immutability was part of Matthias Goerne’s ‘Journey with Schubert’ during which he is recording the songs on eleven CDs and presenting the series in recitals all over the world. If the singing on this occasion is anything to go by, these recordings are set to become the standard to which other singers should aspire. »

20 Sep 2009

Goerne sings Schubert at the Wigmore Hall

When Matthias Goerne sings, it’s never superficial. Lieder is a genre that needs almost as much engagement from listeners as from performers. “It's like a church in there”, someone said to me about the Wigmore Hall. “They’re really listening”.  »

20 Sep 2009

Die schöne Müllerin by Mark Padmore, Wigmore Hall

Schubert’s first song-cycle is a perfect choice with which to open a new concert season, and the Wigmore Hall was packed on Friday evening in anticipation of this recital by tenor Mark Padmore, much admired for the focus and concentration of his ‘story-telling’, and Paul Lewis, one of the most expressive and poetic of pianists today. »

20 Sep 2009

Haydn’s Le pescatrici at Bampton Classical Opera

Bampton Classical Opera have two areas of specialism: little-known gems of the late eighteenth-century and ‘opera in adversity’.  »

20 Sep 2009

Humour and horror — Ligeti's Le Grand Macabre at the ENO, London

A massive female figure fills the whole stage at the ENO for Ligeti's Le Grand Macabre, in this amazing production from La Fura del Bas. (Alex Ollé). This production is so inherently dramatic that it brings Ligeti's "anti-opera" onto a new level as theatre.art. .  »

15 Sep 2009

Return to the Origins — Chamber Opera in Crisis Times

Chamber opera is coming back after a period when it appeared to be confined to experimental works.  »

15 Sep 2009

Wigmore Hall Song Competition

‘It’s a personal choice’ / ‘Of course he won - he was the only one who sang songs’ / ‘I’ll be happy if anyone but the first one wins’ (he won) / ‘There’s only one possible choice - the third one’ (he came second) »

06 Sep 2009

Christof Loy speaks about the new Tristan und Isolde at the Royal Opera House, London.

“Opera has so much to give” says Christof Loy, whose new production of Tristan und Isoldeopens at the Royal Opera House on 29th September. This opera is so familiar that everyone assumes they know it. But Loy’s approach involves going straight back to the score, and to the inherent drama in the music. “I don’t like superficial distractions". »

06 Sep 2009

Aspen stages a Don to die for

“Can it be?”“It can’t!”“But it is; he looks just like him…” »

06 Sep 2009

Mahler and Ligeti at the Proms?

On the surface, the theme of this Prom seemed to be Sci Fi movies at the Proms. Both Ligeti's Atmosphères and Richard Strauss's Also sprach Zarathustra became huge hits when Stanley Kubrick used them in 2001 : A Space Odyssey. So how did Mahler's *Kindertotenlieder* fit in ?  »

06 Sep 2009

Bayreuth: Multi-layered, Profound "Parsifal"

The Wagner Festspiel loves to provoke. »

06 Sep 2009

Seattle humanizes Wagner’s Ring

In 2001, when Seattle Opera completed its current production of Wagner’s Ring des Nibelungen, it seemed the company had taken a step backward. In appearance the new Ring — the third full SO staging since Glynn Ross set out to make the city the American counterpart to Germany’s Bayreuth — was traditional.  »

06 Sep 2009

The Dream of Gerontius: Grant Park Music Festival, Chicago

For the eighteenth program of its seventy-fifth anniversary season the Grant Park Music Festival under the direction of its principal conductor Carlos Kalmar gave two performances of Sir Edward Elgar’s monumental oratorio for soloists, chorus, and orchestra, The Dream of Gerontius.  »

30 Aug 2009

Central City Opera 2009

Central City stages luminous Lucia There’s the sextet, the greatest “hit” in all of opera when Caruso was in the cast, and there’s the “Mad Scene,” that exercise in vocal acrobatics that brought new glory to bel canto when the opera was new in Naples in 1835.  »

30 Aug 2009

Fidelio at the Proms

Fidelio is not just any opera. But then, Beethoven is not just any composer. His only opera — unless one counts Leonore as a work in itself — confounds bureaucratic expectations.  »