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Elsewhere

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)

Tosca in San Francisco

The story was bigger than its actors, the Tosca ritual was ignored. It wasn’t a Tosca for the ages though maybe it was (San Francisco’s previous Tosca production hung around for 95 years). P.S. It was an evening of powerful theater, and incidentally it was really good opera.

Fine performances in uneven War Requiem at the Concertgebouw

At the very least, that vehement, pacifist indictment against militarism, Benjamin Britten’s War Requiem, should leave the audience shaking a little. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

The Tallis Scholars at Cadogan Hall

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. There was little to ruffle anyone’s feathers here, little in the way of overt ‘interpretation’ – certainly in a modern sense – but ample opportunity to appreciate the mastery on offer in this music, its remoteness from many of our present concerns, and some fine singing.

Dido and Aeneas: Academy of Ancient Music

“Remember me, but ah! forget my fate.” Well, the spectral Queen of Carthage atop the poppy-strewn sarcophagus wasn’t quite yet “laid in earth”, but the act of remembering, and remembrance, duly began during the first part of this final instalment of the Academy of Ancient Music’s Purcell trilogy at the Barbican Hall.

Poignantly human – Die Zauberflöte, La Monnaie

Mozart Die Zauberflöte (The Magic Flute) at La Monnaie /De Munt, Brussels, conducted by Antonello Manacorda, directed by Romeo Castellucci. Part allegory, part Singspeile, and very much a morality play, Die Zauberflöte is not conventional opera in the late 19th century style. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean.

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Powerful Monodramas: Zender, Manoury and Schoenberg

The concept of the monologue in opera has existed since the birth of opera itself, but when we come to monodramas - with the exception of Rousseau’s Pygmalion (1762) - we are looking at something that originated at the beginning of the twentieth century.

ENO's Salome both intrigues and bewilders

Femme fatale, femme nouvelle, she-devil: the personification of patriarchal castration-anxiety and misogynistic terror of female desire.

In the Company of Heaven: The Cardinall's Musick at Wigmore Hall

Palestrina led from the front, literally and figuratively, in this performance at Wigmore Hall which placed devotion to the saints at its heart, with Saints Peter, Paul, Catherine of Alexandria, Bartholomew and the Virgin Mary all musically honoured by The Cardinall’s Musick and their director Andrew Carwood.

Roberto Devereux in San Francisco

Opera’s triple crown, Donizetti’s tragic queens — Anna Bolena who was beheaded by her husband Henry VIII, their daughter Elizabeth I who beheaded her rival Mary, Queen of Scots and who executed her lover Roberto Devereux.

O18: Queens Tries Royally Hard

Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.

O18 Magical Mystery Tour: Glass Handel

How to begin to quantify the wonderment stirred in my soul by Opera Philadelphia’s sensational achievement that is Glass Handel?

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

A lunchtime feast of English song: Lucy Crowe and Joseph Middleton at Wigmore Hall

The September sunshine that warmed Wigmore Street during Monday’s lunch-hour created the perfect ambience for this thoughtfully compiled programme of seventeenth- and twentieth-century English song presented by soprano Lucy Crowe and pianist Joseph Middleton at Wigmore Hall.

O18: Mad About Lucia

Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

O18 Poulenc Evening: Moins C’est Plus

In Opera Philadelphia’s re-imagined La voix humaine, diva Patricia Racette had a tough “act” to follow ...

O18: Unsettling, Riveting Sky on Swings

Opera Philadelphia’s annual festival set the bar very high even by its own gold standard, with a troubling but mesmerizing world premiere, Sky on Wings.

Vaughan Williams: A Sea Symphony — Martyn Brabbins BBCSO

From Hyperion, an excellent new Ralph Vaughan Williams A Sea Symphony with Martyn Brabbins conducting the BBC Symphony Orchestra and BBC Symphony Chorus, Elizabeth Llewellyn and Marcus Farnsworth soloists. This follows on from Brabbins’s highly acclaimed Vaughan Williams Symphony no 2 "London" in the rarely heard 1920 version.

Simon Rattle — Birtwistle, Holst, Turnage, and Britten

Sir Simon Rattle and the London Symphony Orchestra marked the opening of the 2018-2019 season with a blast. Literally, for Sir Harrison Birtwistle's new piece Donum Simoni MMXVIII was an explosion of brass — four trumpets, trombones, horns and tuba, bursting into the Barbican Hall. When Sir Harry makes a statement, he makes it big and bold !


OPERA TODAY ARCHIVES »

Performances

16 Oct 2018

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)  »

Recently in Performances

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13 May 2005

Premiere of Hildegard

I DON’T say that James Wood’s new opera about everyone’s favourite 12th-century abbess, Hildegard of Bingen, broke the Trade Descriptions Act. But I imagine that many Norfolk and Norwich Festival patrons, lured by the promise of “a spectacle of sound and light”, thought that they were going to get one of those grandiose cathedral son et lumière shows, with the voice of someone like Donald Sinden doing a lugubrious narration while stained-glass windows gently light up. »

13 May 2005

Rigoletto at the Mariinsky

Verdi’s “Rigoletto,” a long-standing audience favorite, received languid treatment from Italian director Walter Le Moli, whose interpretation of the opera premiered at the Mariinsky Theater on May 6 and 7. »

13 May 2005

Prokofiev at the Helikon

For its first new production since May of last year, Helikon Opera chose to honor the 60th anniversary of the end of World War II in Europe with the premiere last Saturday of “Fallen from the Sky,” a operatic pastiche based on two war-related works by Sergei Prokofiev. »

12 May 2005

Angela Gheorghiu at Festival Hall

There are sopranos, and there are divas. Angela Gheorghiu is definitely one of the latter. You know straight away from watching her stride on to the stage why this woman wins her battles with directors and conductors. »

11 May 2005

Britten's War Requiem at Royal Festival Hall, London

Flag-waving celebrations may have been the order of the day across the river, but a far more thoughtful marking of the VE Day anniversary was to be found in the London Philharmonic’s tribute, which almost inevitably took the form of Britten’s War Requiem. What wasn’t inevitable was that it should be led by the orchestra’s chief conductor, who spent VE day as a teenage German soldier in an Allied prisoner-of-war camp. However, it seemed right that Kurt Masur was there. »

11 May 2005

Il Corsaro in Genoa

It would be easy to say that the best thing about Il Corsaro is its brevity. There isn’t one item in the young Verdi’s compositional bag of tricks that he didn’t brandish with greater flair elsewhere. Written when the composer was Paris-based and exploring new artistic directions, it suffers from a sense that he was going through the motions. But the Teatro Carlo Felice accords Il Corsaro the respect it would any other Verdi opera, and the rewards are substantial. »

10 May 2005

Ernani at Parma

No city is more closely identified with Verdi than Parma – the urban centre closest to the composer’s rural home – and it polishes its image with an annual Verdi festival. As Parma is also home to the National Institute of Verdi Studies, scholarly gatherings play a role, and several visiting orchestras appear. But the festival’s mainstay rests in the Teatro Regio with two new opera productions. »

10 May 2005

Rossini's Il Barbiere at Münchner Rundfunkorchester

Das war ein Ensemble! Musikalisch ganz auf Rossinis Spur. Und komödiantisch? Da reichten 50 Quadratzentimeter pro Person, um anzudeuten, was auf einer Opernbühne abgegangen wäre. Denn leider handelte es sich beim jüngsten Münchner “Barbier von Sevilla” nur um eine konzertante Aufführung. Wieder einmal trumpfte das Münchner Rundfunkorchester mit der Oper auf. Diesmal nicht mit einer Rarität, sondern mit einem Top-Ensemble, das eigentlich von Vesselina Kasarova als Rosina angeführt werden sollte. Doch für die Erkrankte sprang kurzfristig Elina Garanca ein und sahnte – zusammen mit ihren Kollegen – beim Sonntagskonzert im Gasteig mächtig ab. »

10 May 2005

Shostakovich's Moscow, Moscow at the Wiener Kammeroper

Sascha und Mascha, jung verheiratet, treffen einander einmal täglich ir gendwo in Moskau und träumen von einer eigenen Wohnung. Semjon Semjonowitsch Baburow und seine Tochter sind obdachlos geworden – das alte Haus in der “Warmen Seitengasse” ist eingestürzt. Der Sprengstoffexperte und “Dissident” Boris möchte nach Jahren fern von Moskau hier seine große Liebe finden. Und da sind dann noch Sergej und seine angebetete, stramm linientreue Bauarbeiterin Ljusja, auch auf der Suche nach einer Bleibe. »

10 May 2005

Tales of Hoffmann at Seattle

Jacques Offenbach’s “The Tales of Hoffmann” has to be one of the most problematic and untidy operas in the international repertory. Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound—since the score was unfinished at the time of the composer’s death—as well as different opinions, almost by definition, about what should and should not be included in any performing edition. »

09 May 2005

Handel's Aci, Galatea e Polifemo in London

The Grand Tour, whereby wealthy Britons travelled through Europe, in particular Italy, imbibing culture at its fountainhead, is the theme of this year’s Lufthansa Baroque Festival. The opening concert focused on Handel, whose reasons for going to Italy were professional, and whose route was unusual. German-born and trained, Handel spent four years in Italy in his early 20s, learning everything he needed to know about the Italian style, and particularly how to write Italian opera. Moving to London, he became its leading purveyor to English audiences for 30 years. »

09 May 2005

Der Ring Along the Amazon

MANAUS, Brazil, May 8 – Richard Wagner set his fantastical world of Valkyries, gnomes and giants along the Rhine, not the Amazon. But this is a city with a long history of thinking large and even outlandishly, which is how the Amazonas Opera Festival here has ended up staging Wagner’s sprawling four-part “Ring of the Nibelungen” cycle in the heart of the world’s biggest rain forest. »

09 May 2005

Margaret Garner Premiere

DETROIT, May 8 – Grand opera is happiest when the issues are big and little neutral ground stands between good and evil. What better topic than American slavery and its aftermath? The Michigan Opera Theater’s premiere performance of “Margaret Garner” on Saturday night had heated the passions, stirred guilt and broken a lot of hearts before a word or a note was written. »

07 May 2005

Cavalli's La Calisto in Munich

Das Amt des Hausregisseurs gibt es an der Bayerischen Staatsoper offiziell nicht. Wenn aber einem diese Funktion gebührt, dann ist es David Alden. Über ein Dutzend Inszenierungen hat der New Yorker hier bereits herausgebracht. Seine aktuelle Regie: Francesco Cavallis Barock-Oper “La Calisto”, die am Montag im Nationaltheater ihre Münchner Erstaufführung erlebt. Ivor Bolton dirigiert. Das Stück erzählt von der Nymphe Calisto, in die sich Jupiter verliebt. In Gestalt der Göttin Diana bandelt er mit ihr an – was die Gattin natürlich übel nimmt. »

07 May 2005

Missa Solemnis in London

‘The day on which a High Mass composed by me will be performed during the ceremonies solemnised for your imperial highness will be the most glorious day of my life,” wrote Beethoven in 1819 to Archduke Rudolph, the youngest brother of the Holy Roman Emperor Franz I and his composition student. Rudolph had just been elected archbishop of Olmütz in Moravia, and Beethoven was to write a setting of the mass for the installation the following year. In the event, however, the Missa Solemnis would take Beethoven five years to write and would be one of the grandest and most complex works of his later years. It is also one of the hardest of all musical works to perform. When Harmonia Mundi produced a live recording of the piece, conducted by Philippe Herreweghe, there were many who felt that this was the first time they had heard a performance that had the full measure of the work. This weekend he brings the same forces, the Collegium Vocale Gent and the Orchestre des Champs-Elysées to perform it in London. »

06 May 2005

La Wally in Düsseldorf

Düsseldorf. Die “Geierwally” als Oper lässt ein Alpendrama mit deftigem Lokalkolorit vermuten. Die Düsseldorfer Erstinszenierung von Alfredo Catalanis “La Wally” bot stattdessen die Seelenstudie einer sexuell frustrierten Gesellschaftsdame, die mit ihrem Wohlstand nichts anzufangen weiß, weil sich ihr der Mann verweigert, den sie liebt. Das Premierenpublikum folgte dieser Umdeutung bereitwillig, jubelte ihr nicht ohne die Lust der Wiedererkennung begeistert zu. »

06 May 2005

Magic Flute in Brussels

Durant les riches années passées à la tête de la Monnaie de Bruxelles, Bernard Foccroulle aura élargi la palette de la mise en scène d’opéra, en faisant appel à des chorégraphes ou à des plasticiens. Ainsi, l’homme de théâtre et dessinateur, le Sud-Africain William Kentridge, grand inventeur d’images fixes et animées. Si l’alchimie se fait entre l’univers visuel du créateur et l’oeuvre qu’il met en scène, cela peut renouveler la question. Dans le cas contraire, on a l’impression de voir, pour paraphraser Godard, non pas «des images justes», mais «juste des images». C’est ce qui se passe avec La Flûte enchantée vue par Kentridge. »

06 May 2005

Soile Isokoski at New York's Zankel Hall

With a voice at once silvery and dark, compact yet ripe with overtones, soprano Soile Isokoski is in increasing demand as a Wagner and Strauss interpreter. New York so far has heard her primarily in Mozart and French opera, most recently as an achingly poignant Rachel in Halévy’s “La Juive” and as Marguerite in the Metropolitan Opera’s glitzy new staging of Gounod’s “Faust.” »

05 May 2005

Un Ballo in Vancouver

Once upon a time, Masked Ball might have made sense. Back in the 1850s, when Giuseppe Verdi wrote it, he based his story on the assassination of Sweden’s King Gustavus III. A despot, cuckold, and philanderer, Gustavus further alienated himself from his subjects by claiming the exclusive right to produce aquavit, and was shot by one Jacob Johan Anckarström at a costume party in 1792. »

02 May 2005

Der Ring at the Wiener Staatsoper

Beinahe ist die Geschichte zu Ende. Einen Durchlauf wird die Adolf-Dresen-Inszenierung von Wagners “Ring”— Tetralogie in der kommenden Spielzeit noch erleben, dann ist — nach der 25. Aufführung der “Götterdämmerung” — Schluss. Am 2. Dezember 2007 beginnt mit der Premiere der “Walküre” ein neues “Ring”-Projekt, inszeniert von Sven-Eric Bechtolf, dirigiert von Franz Welser-Möst. Dieses wird im Mai 2009 abgeschlossen sein, ziemlich genau ein halbes Jahrhundert nach dem ersten Wiener Nachkriegs — “Ring” Herbert von Karajans. »

02 May 2005

Il Ritorno d'Ulisse at Birmingham

It’s always sensible to arrive early for a show by Birmingham Opera Company, simply to locate the venue. After a marquee for Fidelio three years ago and an abandoned car workshop for Candide in 2003, the company’s Monteverdi project, running since the beginning of last year, comes to a climax in a disused ice rink. »

02 May 2005

Rising Stars in Concert at Chicago

A plenitude of sweet music was in the air Saturday night at the Civic Opera House. It arrived long before Ralph Vaughan Williams’ “Serenade to Music,” its Shakespearean text a paean to “sweet music,’’ that closed the concert by members of the Lyric Opera Center for American Artists. »

02 May 2005

Clemenza di Tito at the Met

Operas like “Don Giovanni” or “Die Zauberflöte” today look like repudiations of the formal, almost motionless style that ruled Europe’s musical theater for most of the 18th century. Yet Mozart was surrounded all his life by opera seria, and he wrote four of them, including the early “Idomeneo” and the late “Clemenza di Tito,” which was heard Friday night at the Metropolitan Opera. »

01 May 2005

La Forza in Frankfurt

Vielleicht ist es das beste, was dem krausen Opernschauerdrama passieren kann: Die Macht des Schicksals konzertant, vom ersten Schuss an, der sich von selbst aus der Pistole löst. Die Oper Frankfurt lässt das Werk in der Fassung von 1869 in der Alten Oper unter Leitung Paolo Carignanis hören und hat damit die Einschätzung Theodor W. Adornos angesichts einer Inszenierung des Stücks 1928 am gleichen Ort noch überboten. Die schicksalswütige Romantik des Forza-Buchs, so der damals 25-jährige Musikkritiker, “sei in sich bereits so welk, dass zu seiner Beurteilung Marionettendramaturgie allein zuständig wäre”. »