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Elsewhere

Edward Gardner conducts Berlioz's L’Enfance du Christ

L’Enfance du Christ is not an Advent work, but since most of this country’s musical institutions shut down over Christmas, Advent is probably the only chance we shall have to hear it - and even then, only on occasion. But then Messiah is a Lenten work, and yet …

Fantasia on Christmas Carols: Sonoro at Kings Place

The initial appeal of this festive programme by the chamber choir, Sonoro, was the array of unfamiliar names nestled alongside titles of familiar favourites from the carol repertoire.

Dickens in Deptford: Thea Musgrave's A Christmas Carol

Both Venus and the hearth-fire were blazing at Trinity Laban Conservatoire of Music and Dance during this staging of Thea Musgrave’s 1979 opera, A Christmas Carol, an adaptation by the composer of Charles Dickens’ novel of greed, love and redemption.

There is no rose: Gesualdo Six at St John's Smith Square

This concert of Christmas music at St John’s Smith Square confirmed that not only are the Gesualdo Six and their director Owain Park fine and thoughtful musicians, but that they can skilfully shape a musical narrative.

Temple Winter Festival: The Tallis Scholars

Hodie Christus natus est. Today, Christ is born! A miracle: and one which has inspired many a composer to produce their own musical ‘miracle’: choral exultation which seems, like Christ himself, to be a gift to mankind, straight from the divine.

A new Hänsel und Gretel at the Royal Opera House

Fairy-tales work on multiple levels, they tell delightful yet moral stories, but they also enable us to examine deeper issues. With its approachably singable melodies, Engelbert Humperdinck's Märchenoper Hänsel und Gretel functions in a similar way; you can take away the simple delight of the score, but Humperdinck's discreetly Wagnerian treatment of his musical material allows for a variety of more complex interpretations.

Bohuslav Martinů – What Men Live By

World premiere recording from Supraphon of Bohuslav Martinů What Men Live By (H336,1952-3) with Jiří Bělohlávek and the Czech Philharmonic Orchestra from a live performances in 2014, with Martinů's Symphony no 1 (H289, 1942) recorded in 2016. Bělohlávek did much to increase Martinů's profile, so this recording adds to the legacy, and reveals an extremely fine work.

Berlioz: Harold en Italie, Les Nuits d'été

Hector Berlioz Harold en Italie with François-Xavier Roth and Les Siècles with Tabea Zimmermann, plus Stéphane Degout in Les Nuits d’été from Hamonia Mundi. This Harold en Italie, op. 16, H 68 (1834) captures the essence of Romantic yearning, expressed in Byron's Childe Harold’s Pilgrimage where the hero rejects convention to seek his destiny in uncharted territory.

Rouvali and the Philharmonia in Richard Strauss

It so rarely happens that the final concert you are due to review of any year ends up being one of the finest of all. Santtu-Matias Rouvali’s all Richard Strauss programme with the Philharmonia Orchestra, however, was often quite remarkable - one might quibble that parts of it were somewhat controversial, and that he even lived a little dangerously, but the impact was never less than imaginative and vivid. This was a distinctly young man’s view of Strauss - and all the better for that.

‘The Swingling Sixties’: Stravinsky and Berio

Were there any justice in this fallen world, serial Stravinsky – not to mention Webern – would be played on every street corner, or at least in every concert hall. Come the revolution, perhaps.

Le Bal des Animaux : Works by Chabrier, Poulenc, Ravel, Satie et al.

Belgian soprano Sophie Karthaüser’s latest song recital is all about the animal kingdom. As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Eugene Asti is her accompanist in Le Bal des Animaux, a delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin.

The Pity of War: Ian Bostridge and Antonio Pappano at the Barbican Hall

During the past four years, there have been many musical and artistic centenary commemorations of the terrible human tragedies, inhumanities and utter madness of the First World War, but there can have been few that have evoked the turbulence and trauma of war - both past and present, in the abstract and in the particular - with such terrifying emotional intensity as this recital by Ian Bostridge and Antonio Pappano at the Barbican Hall.

First revival of Barrie Kosky's Carmen at the ROH

Charles Gounod famously said that if you took the Spanish airs out of Carmen “there remains nothing to Bizet’s credit but the sauce that masks the fish”.

Stanford's The Travelling Companion: a compelling production by New Sussex Opera

The first performance of Charles Villiers Stanford’s ninth and final opera The Travelling Companion was given by an enthusiastic troupe of Liverpudlian amateurs at the David Lewis Theatre - Liverpool’s ‘Old Vic’ - in April 1925, nine years after it was completed, eight after it won a Carnegie Award, and one year after the composer’s death.

Russian romances at Wigmore Hall

The songs of Tchaikovsky and Rachmaninov lie at the heart of the Romantic Russian art song repertoire, but in this duo recital at Wigmore Hall it was the songs of Nikolay Medtner - three of which were framed by sequences by the great Russian masters - which proved most compelling and intriguing.

Wolfgang Rihm: Requiem-Strophen

The world premiere recording of Wolfgang Rihm's Requiem-Strophen (2015/2016) with Mariss Jansons conducting the Symphonieorchester des Bayerischen Rundfunks and the Chor des Bayerischen Rundfunks with Mojca Erdmann, Anna Prohaska and Hanno Müller-Brachmann, from BR Klassik NEOS.

Don Giovanni: Manitoba Opera

Manitoba Opera turned the art of seduction into bloodsport with its 2018/19 season-opener of Mozart’s dramma giocoso, Don Giovanni often walking a razor’s edge between hilarious social commentary and chilling battles for the soul.

Jonathan Miller's La bohème returns to the Coliseum

And still they come. No year goes by without multiple opportunities to see it; few years now go by without my taking at least one of those opportunities. Indeed, I see that I shall now have gone to Jonathan Miller’s staging on three of its five (!) outings since it was first seen at ENO in 2009.

Sir Thomas Allen directs Figaro at the Royal College of Music

The capital’s music conservatoires frequently present not only some of the best opera in London, but also some of the most interesting, and unusual, as the postgraduate students begin to build their careers by venturing across diverse operatic ground.

Unknown, Remembered: in conversation with Shiva Feshareki

It sounds like a question from a BBC Radio 4 quiz show: what links Handel’s cantata for solo contralto, La Lucrezia, Samuel Beckett’s Krapp’s Last Tape, and the post-punk band Joy Division?


OPERA TODAY ARCHIVES »

Performances

19 Dec 2018

Edward Gardner conducts Berlioz's L’Enfance du Christ

L’Enfance du Christ is not an Advent work, but since most of this country’s musical institutions shut down over Christmas, Advent is probably the only chance we shall have to hear it - and even then, only on occasion. But then Messiah is a Lenten work, and yet …  »

Recently in Performances

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07 Apr 2009

Cavalleria Rusticana and I Pagliacci at the MET

The current revival of Cav and Pag at the Met went off like clockwork, with all the comfort and reliability that implies for a repertory house and all the success these tried and true verismo stalwarts merit.  »

07 Apr 2009

Reasons to be Cheerful

London: Sue Loder reviews Alessandro and the Handel Singing Final »

06 Apr 2009

Paris: As Good As It Gets

I cursed myself for not having turned on the television sooner. »

02 Apr 2009

Return of Ulysses in San Francisco

William Kentridge is a South African artist who works in charcoal and eraser (smudges) on paper, in small animated film and video segments (black and white), in theater, and now in opera. Monteverdi’s The Return of Ulysses was his first operatic project that took place in 1998 in collaboration with South Africa’s Handspring Puppet Theater.  »

01 Apr 2009

Rigoletto at San Diego Opera

In the current weak economy many an opera company has retrenched its programming to present primarily the most popular operas. »

01 Apr 2009

Handel & Purcell on Special Offer at Covent Garden

If combining the anniversaries of both Purcell and Handel in one production at the Royal Opera was something of a master-stroke, then getting the Royal Ballet in on the act must have seemed to be verging on the brilliant from a commercial point of view.  »

30 Mar 2009

Bloch’s Macbeth by UC Opera, London

Mention Macbeth — The Opera and most think of Verdi. Ernest Bloch took on the subject more than half a century later, in Paris in 1910, when Verdi’s version was almost as obscure as Bloch’s is today. »

30 Mar 2009

Magdalena Kožená shines in Martinů’s Juliette at the Barbican, London

Many works by Martinů will be performed in this year’s commemoration of the anniversary of his death, but it would be hard to equal the impact of this performance. Much of its success was due to Kožená, whose presence illuminated the whole opera, even though her moments on stage were fleeting. »

27 Mar 2009

In Sarasota the composer is king

In the world of opera it’s now the director who is the top banana.  »

25 Mar 2009

Jenůfa — English National Opera, London Coliseum

Janáček enthusiasts in London have been spoiled this month: opening the day before English Touring Opera’s Katya Kabanova, David Alden’s staging of Jenůfa made a welcome return to the Coliseum following its original double Olivier Award-winning run in 2006. »

25 Mar 2009

Venice's Variable “War Requiem”

I had been looking forward to it for weeks — really, for years. »

25 Mar 2009

La Sonnambula at the MET

In 1831, when Vincenzo Bellini composed this pastorale full of characters who never express any but sincere emotions (with the exception of Lisa, the calculating flirt), he certainly intended them, and their feelings, and therefore their story, to be taken seriously – or he would not have given them such seriously lovely music.  »

25 Mar 2009

Il Trovatore at the MET

For nearly a decade after its premiere, in 1853, Il Trovatore was the most popular opera, perhaps the most popular stage work on the planet — even more than Rigoletto or Ernani, and far more than Traviata, which had its premiere the following autumn.  »

24 Mar 2009

Franz Schubert: The Conspirators (Die Verschworenen)

Schubert was desperate to be an opera composer — or so one might surmise from the many (at least 18) attempts he made to make a name for himself as a man of the theatre.  »

24 Mar 2009

Katya Kabanova/The Magic Flute — English Touring Opera, Hackney Empire Theatre

English Touring Opera is 30 years old this year, and has never been more adventurous.  »

15 Mar 2009

Don Giovanni — Victorian Opera

Each Australia state maintains its own opera company. The dominant company is Opera Australia, a permanent ensemble based at the Sydney Opera House but which originated in the Melbourne based National Theatre Opera Company in the 1940s.  »

15 Mar 2009

LA “Ring” up and running

LOS ANGELES: On February 21 the capacity audience in the Dorothy Chandler Pavilion was overwhelmed by the staging of Das Rheingold that launched the Los Angeles Opera’s new production of Der Ring des Nibelungen. So was Wagner. »

15 Mar 2009

Haydn’s L’Isola Disabitata by Gotham Chamber Opera

Had a misunderstanding with your truelove lately? Tough job straightening things out?  »

15 Mar 2009

Wagner’s Das Rheingold at Los Angeles Opera

There is some slim irony to an opera company pursuing the complicated business of staging Richard Wagner’s Der Ring des Nibelungen in the current economy — it entails the very sort of dubious compromises that get Wotan and crew into such hot water (if one assumes the cataclysmic fire at the end of Götterdämmerung heated the Rhine).  »

08 Mar 2009

Tristan und Isolde in Chicago

By the close of the first act of Richard Wagner’s Tristan and Isolde in its current production at Lyric Opera of Chicago the audience has been given a strong impression of the multi-faceted characters bound up in the musical drama unfolding on stage.  »

08 Mar 2009

Fidelio — London Lyric Opera, Cadogan Hall

After a problematic debut last Autumn with Der fliegende Holländer at the Barbican, London’s newest opera-in-concert outfit returned this month with Fidelio at the smaller Cadogan Hall. »

08 Mar 2009

Korngold Thrills in Venice

It is not often that the team of stage director, set and costume designer get the biggest, most boisterously rowdy roar of approval at opera's end. »

05 Mar 2009

Dr Atomic lands on London with a bang

To say that Dr Atomic landed in London with a bang is shocking, but the subject it deals with is meant to be disturbing. Unlike the scientists at Los Alamos, we can’t live in denial of the wider implications. This isn’t history. It’s a universal dilemma, utterly relevant today.  »

05 Mar 2009

La bohème — English National Opera

Jonathan Miller's new production of Puccini's wintry opera was denied its planned opening night on Monday 2nd February by a bout of unusually heavy snow which brought most of London's transport services to a halt and turned it into a virtual ghost town (thus, up the road at Covent Garden, the cancellation of a performance of Korngold's 'Die tote Stadt' was equally ironic). »

05 Mar 2009

Janáček's Šárka at Dicapo Opera

There is a visceral pleasure in hearing so many healthy sets of young lungs tearing into this music, and they do sing, they do not bellow. »

27 Feb 2009

A restrained Flying Dutchman at the Royal Opera House, London

This Der fliegende Holländer was eagerly awaited as it hasn’t been heard at the Royal Opera House, London, since 2000. With Bryn Terfel’s return to Covent Garden as the Dutchman guaranteed a full house. »

27 Feb 2009

Lucrezia Borgia at Munich

Donizetti’s Lucrezia Borgia, his 30th opera, is based on Victor Hugo’s play of the same name, and had its premiere at La Scala in 1833.  »

25 Feb 2009

Rigoletto at the MET

The Plague of Beautiful Sounds: Has Bel Canto gone too far? »

25 Feb 2009

Adriana Lecouvreur at the MET

There come nights in the opera season where gesamtkunstwerke won’t do — enough of epic masterpieces and supreme lyric outpourings of the human spirit!  »

25 Feb 2009

Frankfurt: Thinking Inside the Box

My heart didn't exactly leap in joyful anticipation as I entered the Frankfurt Opera and saw the Arabella pre-set on stage: a big, shallow, white box.  »

24 Feb 2009

No Home for Heroes at the Theater an der Wien, Vienna — Pierre Audi’s new production of Handel’s Partenope.

Handel operas are like London buses — you wait for ages and then 3 come along together.  »

22 Feb 2009

Massenet's Don Quichotte at San Diego Opera

Ferrucio Furlanetto apparently loves the temperate climes of San Diego in California's equivalent of late winter.  »

10 Feb 2009

Chicago’s Lyric brings life to Tristan

Superlatives were in short supply when the curtain fell on Tristan und Isolde at Chicago Lyric Opera on January 27.  »

08 Feb 2009

Magic Flute at ENO

‘Back by popular demand’ claimed ENO’s publicity material for the 21-year-old production which had its supposed swan-song last season – though it remains questionable whether the company ever really intended to get rid of it.  »

08 Feb 2009

Die tote Stadt, Royal Opera House

Die tote Stadt is Korngold’s masterpiece in the old sense of the word, when a craftsman would produce a dazzling work to show the world what he could do. This is Korngold’s manifesto, so to speak.  »

08 Feb 2009

Eugene Onegin at the MET

Pushkin’s poem Eugene Onegin is the first of the great line of Russian novels, passionately loved by all the literate of that most literary nation.  »

08 Feb 2009

Poaching in Cologne

One definition of “poach” is “to take or appropriate something unfairly.” »

08 Feb 2009

Brussels’ Definitive Death

Théâtre Royal de la Monnaie / De Munt started 2009 by serving up a real New Year's treat for the Belgian capital's opera enthusiasts: a near-perfect staging of Benjamin Britten's Death in Venice. »

01 Feb 2009

Partenope in Ferrara

The Greek princes Arsace (alto) and Armindo (alto) are seeking handsome Queen Partenope (soprano), who has just founded the city of Naples, in marriage.  »

27 Jan 2009

Amsterdam Hercules Dazzlingly In Love

I had never personally imagined mythical Hercules as a WWF Wrestler-cum-Caveman but damn if Dutch National Opera's staging of Francesco Cavalli's Ercole Amante didn't almost persuade me it could be so. »

26 Jan 2009

Pfitzner's Palestrina at Bavarian State Opera

Writer Jens F. Laurson reports from Munich, where a new staging of Hans Pfitzner's Palestrina opened Jan. 19 at the National Theater. The rarely-performed 1917 three-act opera stars Christopher Ventris in the title role. »

19 Jan 2009

Barber’s Antony and Cleopatra by NYCO

The two performances of Samuel Barber’s Antony and Cleopatra given at Carnegie Hall — the New York City Opera’s only performances this year while the State Theater is in rehab and the company is in flux — may or may not prove to be swan song of New York’s gallant number two company, whose succession of identity crises have been so fascinating to observe — and hear — over the decades.  »

07 Jan 2009

La Rondine at the MET

The first thing that hits you about the Met’s production of La Rondine is the beauty of the sets and costumes (from the classy team of Ezio Frigerio and Franca Squarciapino, respectively) — especially in contrast to the tawdry glitz of the recent Thaïs.  »

26 Dec 2008

Thaïs at the MET

Everyone who likes Massenet’s Thaïs seems to feel obliged to apologize for it, or to become defensive: it’s not that bad, they all seem to say.  »

23 Dec 2008

The Play of Daniel — A Medieval Music Drama from Beauvais

Can we call The Play of Daniel an opera, or “music drama” (as this performance put it), when such terms did not exist, and would not exist for centuries to come when the piece was devised, around 1200, by the cathedral chapter of Beauvais?  »

22 Dec 2008

Berg’s Lulu at Lyric Opera of Chicago

In its new production this fall season of Alban Berg’s Lulu, Lyric Opera of Chicago has achieved a near ideal synthesis of music and drama.  »