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Elsewhere

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.


OPERA TODAY ARCHIVES »

Performances

28 Jul 2014

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return. »

Recently in Performances

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11 May 2013

Rigoletto at Lyric Opera of Chicago

Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.  »

11 May 2013

Britten Sinfonia with Ian Bostridge

Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams. »

10 May 2013

Aida, Manitoba Opera

Poor Aida! She never seems to have anything go her way.  »

05 May 2013

Superlative singing: Don Carlo, Royal Opera House

Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music. »

04 May 2013

Sarah Connolly: French Song at Wigmore Hall

The big names were absent: Duparc, D’Indy, Debussy, Ravel … and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.  »

03 May 2013

Rare restoration: Handel’s Esther 1720

Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.  »

01 May 2013

The Damnation of Faust, London

Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.  »

28 Apr 2013

Elizabeth Connell Memorial Concert, St John's Smith Square

St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.  »

25 Apr 2013

Aida with all the Trimmings, Even a Blue Silk Elephant!

With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.  »

23 Apr 2013

Die Zauberflöte, Royal Opera

Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry. »

12 Apr 2013

The Marriage of Figaro Ends Season at Arizona Opera

Wolfgang Amadeus Mozart's opera The Marriage of Figaro has a libretto by Lorenzo daPonte based on the French play La folle journée, ou le Mariage de Figaro (The Crazy Day or the Marriage of Figaro) by Pierre Caron de Beaumarchais (1732-1799).  »

11 Apr 2013

Baden’s Flute Goes Barefoot in the Park

For its world class Easter Festival, Baden-Baden mounted a Die Zauberflöte that owed more to the grey penitential doldrums of Lent than to the unbridled jubilance of re-birth. »

11 Apr 2013

Bonjour M. Gauguin in Berkeley

Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin. »

11 Apr 2013

Mahler Lieder, Wigmore Hall

In the first of pianist Julius Drake’s three-part series, ‘Perspectives’, our gaze was directed at Gustav Mahler’s eclectic musical responses to human experiences: from the trauma and distress of anguished love to the sweet contentment of true friendship, from the agonised introspection of the artist to the diverse dramas of human interaction. »

10 Apr 2013

Cinderella Goes to the Opera

The Los Angeles opera company marketed its spring production of Rossini's La Cenerentola as Cinderella though there is no opera by that name. The libretto of La Cenerentola is not the Cinderella story we know.  »

05 Apr 2013

Die Walküre, Paris

The Paris Opéra has not staged a full Ring Cycle since 1957, but its current season will conclude with a correction of this grand operatic gap.  »

05 Apr 2013

Manon Lescaut, Washington National Opera

Washington National’s 2012-2013 season continues this spring with a production of Giacomo Puccini’s first successful opera.  »

05 Apr 2013

Murder in the Cathedral at San Diego Opera

Italian composer Ildebrando Pizzetti (1880-1968) wrote more than fifteen operas, of which almost none are staged today.  »

04 Apr 2013

The Firework-Maker’s Daughter, London

The Opera Group’s latest event, The Firework-maker’s Daughter by David Bruce and Glyn Maxwell is currently on tour and arrived at the Royal Opera House’s Linbury Theatre last night (3 April 2013).  »

03 Apr 2013

The Gospel According to the Other Mary, Los Angeles

Composer John Adams’ smashing, crashing and poignant The Gospel According to the Other Mary, created in collaboration with Peter Sellars, made its second appearance at Disney Hall with the Los Angeles Philharmonic Orchestra.  »

31 Mar 2013

Nabucco, Royal Opera House, London

“Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s’ammanti!”. Verdi’s Nabucco at the Royal Opera House respected the spirit of the opera. »

26 Mar 2013

Flying Dutchman at LA Opera

The Los Angeles Opera company opened its spring season in celebration of Richard Wagner's bicentennial with the composer's The Flying Dutchman, written in 1843.  »

26 Mar 2013

Cruzar la Cara de la Luna

Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.  »

20 Mar 2013

I Lombardi, UC Opera London

Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.  »

19 Mar 2013

Francesca da Rimini at the Met

Sets and costumes are gorgeous and the singing is good, but the libretto’s slow and continuously interrupted dramatic action grows tiresome »

18 Mar 2013

Götterdämmerung at the Staatsoper Berlin

In the final of scene of Götterdämmerung in a new production at the Staatsoper Berlin, Brünnhilde appears in a flowing pink gown just as the music has modulated and penetrates the hall of the Gibichungs, represented by rows of glowing translucent boxes that preserve the dismembered limbs of their victims.  »

15 Mar 2013

Robert Carsen’s Falstaff, Paris

With Robert Carsen’s production of Falstaff almost inescapably making the rounds of the world's operatic stages, it is well worth it to take in another production altogether.  »

15 Mar 2013

Cenerentola at Paris Opéra

Rossini's “other” comic masterpiece of 1817 came into the world only a few weeks after the much better known The Barber of Seville. But it has had a place in the repertoire since its premiere.  »

12 Mar 2013

Wagner’s Die Meistersinger in Chicago

Productions of Richard Wagner’s Die Meistersinger von Nürnberg are ambitious undertakings, if only for the number of performers involved and the duration of orchestral and vocal commitment.  »

11 Mar 2013

The Verdi Requiem in Naples

San Francisco and Naples have much in common these days — streets with potholes, ever more gourmet pizzerias, homeless, etc., and, yes, Nicola Luisotti.  »

11 Mar 2013

Il Trovatore at Arizona Opera

Giuseppe Verdi and his librettist, Salvatore Cammarano, based the opera on Antonio García Gutiérrez’s Spanish play El Trovador.  »

10 Mar 2013

George Benjamin: Written on Skin

George Benjamin's Written on Skin sinks deeply into the psyche. A Protector wants brightly coloured images to display his power and wealth.  »

09 Mar 2013

Lully’s Phaeton at the Barbican, London

Jean-Baptiste Lully's Phaeton is rarely heard live in Britain, so this performance with a superlative cast was a special occasion. It was part of the Barbican Hall's continuing series of baroque, and particularly French baroque operas. »

06 Mar 2013

Barber by ENO

ENO’s advertising emphasises the ‘25th anniversary year’ of Jonathan Miller’s staging of The Barber of Seville. It holds the stage well enough without offering any especial insight — at least by now.  »

05 Mar 2013

Wagner Parsifal at the Met

This prioduction of Wagner's Parsifal, directed by François Girard, premiered in Lyons last year. The Met, being a far wealthier house, was able to assemble a truly spectacular cast: Jonas Kaufmann, René Pape, Katarina Dalayman, Peter Mattei and Evgeny Nikitin. Success guaranteed, even if the production is European and modern. These performances set new benchmarks. This Parsifal will be the stuff of legend for decades to come. »

05 Mar 2013

An Interview with Virginia Zeani

Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).  »

05 Mar 2013

Tosca, Royal Opera

Puccini’s “shabby little shocker”, to quote Kerman, does not invite subtlety. For those who feel that opera — a hybrid art form encompassing all the arts and embracing all of life and love, transfiguration and tragedy — is ideally suited to depicting the excesses of human ecstasy and suffering, Tosca epitomises the immoderations of the genre. »

05 Mar 2013

Bernarda Fink and the Italian Baroque

Argentinean mezzo-soprano Bernarda Fink continued her series residency at the Wigmore Hall with an unusual programme of Italian baroque works, partnered by the Academy of Ancient Music, led by violinist Rodolfo Richter.  »

02 Mar 2013

Eugene Onegin, Royal Opera

When opera companies arrange their seasonal schedules, one wonders how much thought they give to Valentine’s Day. If it falls in the midweek, it is potentially a very propitious day for getting people out: that is, if the opera is right. »

26 Feb 2013

Rigoletto at the Met

Michael Mayer’s glitzy neon lights production, set in Rat Pack-era Sin City, proves a fitting backdrop for an opera about a curse »

26 Feb 2013

Munich’s Rambunctious Ring

Bavarian State Opera’s recent staging of Der Ring des Nibelungen was often a restless, even reckless affair, but there is no denying its substantial musical assets.  »

21 Feb 2013

Hugo Wolf, Wigmore Hall

Fun and Hugo Wolf ? Wolf's songs are the epitome of art song, due great reverence. But they're also vibrant with good-hearted wit. This latest concert in Julius Drake's ongoing "Perspectives" series at the Wigmore Hall brought together Sophie Daneman, Ian Bostridge and Julius Drake, all of whom have been working together for many years. The chemistry was almost palpable.  »

17 Feb 2013

Charpentier’s Medea at ENO

In 1704, 11 years after its first performance in 1693 before the royal court of Louis XIV, and 17 years after the death of Lully — and at a time when the relative merits of respective French and Italian aesthetics were constantly and fiercely being debated — Marc-Antoine Charpentier’s Médée was condemned by the ‘Lullist’ faction, who were determined to defend their leader’s guardianship of the tragédie en musique, as an ‘abomination’: hard, dry and characterised by excess. »

17 Feb 2013

Stuttgart: Too Hot to Handel

With its staging of Alcina, Stuttgart Opera seems to set out to prove that George Friedrich Handel can be all ‘sexypants.’  »

14 Feb 2013

Elektra in Marseille

Sadistic revenge and sadistic challenge in equal parts. You know the story — if Oreste had not slaughtered his mother Elektra would have. And did over and over in nearly two hours of raving about killing her mother. Elektra is one of the repertory's more beloved operas. »