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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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17 Mar 2005

Martin's Golgotha in Vienna

Zuerst viele Jahre lang Schweigen. Dann einige Aufführungen hintereinander: Frank Martins Schicksal ist symptomatisch für die Repertoire-Restriktionen in Wien. Immer dieselben Dinge verkaufen sich. Bei einem Werk wie Martins Passions-Oratorium “Golgotha” verlassen Abonnenten den Goldenen Musikvereinssaal bei erster Satzpausen-Gelegenheit. Die Bereitschaft, sich zur gegebenen Zeit mit anderem als den Bach-Passionen auseinander zu setzen, ist enden wollend. »

16 Mar 2005

Per Questa Bella Mano at the Barbican

You don’t expect absurdity in a concert of Mozart arias and instrumental music, but in bass-baritone Thomas Quasthoff’s concert with the period-instrument Freiburg Baroque Orchestra, the highlight was a work of Pythonesque weirdness. »

16 Mar 2005

On Tour with William Christie

HOW refreshing, you think, as Les Arts Florissants bounds on stage, to see an early-music combo whose contracts appear to contain no clauses forbidding visits to hairdresser, shoe-shop and dressing-table, no injunctions to wear nothing but sacking and zit cream. How delightful, how French. With William Christie’s band, as Emcee in Cabaret might say, “Even ze orgestra is beaudiful.” »

15 Mar 2005

Carmen with a South African Twist

British director Mark Dornford-May’s daring transposition of Bizet’s opera to a South African township has landed him a major film award – and a new wife. He talks to Jasper Rees »

15 Mar 2005

Countertenors Victorious in Copenhagen

Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere. »

13 Mar 2005

Bernstein's On the Town at ENO

IT IS easy to sniff at English National Opera’s decision to stage Leonard Bernstein’s first, unashamedly Broadway musical. Unlike some of his later work it has no “operatic” pretensions. But the Broadway musical was a continuation of opera by other means, and Bernstein maintained to the end of his life that, if opera had a future (which he doubted), it would be intimately tied up with the Broadway idiom that he helped to create. »

12 Mar 2005

St. Matthew's Passion at Notre Dame

Il existe des appartements où vous ne pouvez brancher à la fois la machine à laver, le téléviseur et le sèche-cheveux sans faire tout disjoncter. C’est un peu l’impression que l’on avait jeudi soir à Notre-Dame, pour la Passion selon saint Matthieu, dirigée par John Nelson. A peine le chef avait-il salué le public, que les projecteurs s’éteignirent soudain. Il fallut une demi-heure pour les rallumer un par un, et lorsqu’à 20 h 33, le dernier spot fut enfin rétabli, le courant sauta derechef ! Ce n’est qu’à 20 h 40 que le grandiose double choeur introductif put faire résonner les colonnes de Notre-Dame. On n’a pu qu’admirer le sang-froid des artistes, restés en scène tout du long, soumis à une pression que certains exorcisaient en plaisantant, d’autres en maintenant leur instrument au chaud ou en se concentrant. »

12 Mar 2005

Something Alien in Baltimore

Nearly a century ago, the great pianist and intriguing composer Ferruccio Busoni declared that the duty of the performer is to liberate music “from the deadness of the printed page and bring it to life again.” »

12 Mar 2005

Stravinsky's The Nightingale in Toronto

If you’re going to attend one Toronto Symphony Orchestra concert this year, make it this one. There’s nothing like leaving Roy Thomson Hall with your feet six inches off the ground — especially when it’s snowing. »

11 Mar 2005

Tale of Tsar Saltan at the Mariinsky

The new production of Nikolai Rimsky-Korsakov’s Tale Of Tsar Saltan, which premiered at the Mariinsky Theater on Tuesday, is like a happy child’s dream: placid, multi-colored, entertaining – and it has a happy ending. »

11 Mar 2005

Cav and Pag in Cardiff

The Mascagni and Leoncavallo double bill was the very first staging ever undertaken by Welsh National Opera in 1946 and sentiment decreed that it should be played in the company’s inaugural season at its new home. Elijah Moshinsky’s production was created for WNO’s jubilee and has done sterling duty. It has proved a glorious vehicle for both chorus and orchestra. And the moment when the battered truck that brings Pagliaccio’s touring troupe on to the stage is emblematic. »

10 Mar 2005

Bernstein's Candide in New York

Anna Christy plays Cunegonde in NYC Opera’s ‘Candide.’ Monty Python fans waiting for “Spamalot” tickets can warm up happily at “Candide,” City Opera’s spring season opener at Lincoln Center. »

08 Mar 2005

Ring des Nibelungen at the Wiener Staatsoper

An der Wiener Staatsoper ist Wagners “Ring des Nibelungen” derzeit in der Inszenierung von Adolf Dresen zu sehen – das nächste Mal am 12., 17., 24. April und am 1. Mai unter der musikalischen Leitung der Australierin Simone Young. Wer der altbacken und teilweise lächerlich wirkenden Produktion überdrüssig ist, muss bis 2007 warten: Am 2. Dezember hat Sven-Eric Bechtolfs Neuproduktion der “Walküre” in Wien Premiere, am Pult steht Franz Welser-Möst. Die beiden sind ein eingespieltes Team. Bis 2009 wird der Regisseur, der am Burgtheater den “Reigen”, “Cyrano de Bergerac” und “Leonce und Lena” inszeniert hat, auch die drei anderen Teile der Tetralogie in Szene setzen. Zu seinem Konzept wollte er noch nicht viel verraten. Er sehe Wotan aber nicht “mit Aktenkoffer” über die Bühne wandern und kann sich auch Walhall “nicht als Großraumbüro” vorstellen. Bechtolf spielte damit auf die heftig gescholtene Bayreuther Ring-Inszenierung von Jürgen Flimm an, die im August 2004 das letzte Mal über die Bühne gegangen war. »

08 Mar 2005

Die Walküre at Covent Garden

Any production of Wagner’s Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera’s new production, though, that turns out to be not such a good thing at all. »

08 Mar 2005

Handel's Il trionfo at the Barbican

GROUCHO MARX once quipped: “I knew Doris Day before she was a virgin.” Bizarrely, that flashed through my mind as I was gripped, ravished and finally moved to tears by this early Handel oratorio. Here was George Frideric before he became, if not a virgin, then something even more pious: the stately, sedate cheerleader for the Hanoverian dynasty. »

07 Mar 2005

New Music in Boston

The Fromm Music Foundation has been a resident at Harvard for 32 years, commissioning new works and underwriting new-music activity in several venues, including Tanglewood. »

07 Mar 2005

Don Carlo at the Met

“Don Carlo” is Verdi’s “Hamlet.” It’s always an event when the Metropolitan Opera brings back John Dexter’s striking 1979 production of this long, complex, musically profound and psychologically perceptive work, based on Schiller’s play about the indecisive young crown prince Don Carlo and his brutish father, Philip II of Spain, during the madness that was the Inquisition. »

07 Mar 2005

Harnoncourt's Poppea in London

PRACTICALLY my first assignment as a cub critic was to review Nikolaus Harnoncourt conducting Zurich Opera’s production of The Coronation of Poppea. That was in 1978, but I still recall the elation I felt at hearing this great Baroque pioneer sweep centuries of dust from Monteverdi’s masterpiece. »

07 Mar 2005

Manon Lescaut in Essen

Essen. Es ist keine Sternstunde für das erfolgsverwöhnte Essener Aalto-Theater. Warum Generalmusikdirektor Stefan Soltesz Giacomo Puccinis Jugendwerk “Manon Lescaut” ins Programm hob, ist rätselhaft. Denn es liegt mit der gleichnamigen Oper des französischen Komponisten Jules Massenet ein qualitativ weitaus anspruchsvolleres Werk vor. Und hätte er den Mut zur Gegenwart gehabt, hätte sich Hans-Werner Henzes “Boulevard Solitude” angeboten. Ob dies erklärt, dass Soltesz bei der Premiere gleich der 1. Akt zum verhetzten Parforce-Ritt missriet? Immerhin wusste er im weiteren Verlauf den Essener Philharmonikern doch noch die feineren Harmonien zu entlocken, an denen es hier ja nun nicht völlig mangelt. »

06 Mar 2005

A Minimalist Entführung aus dem Serail

Die zwei Pärchen in Mozarts “Entführung aus dem Serail” haben ohnehin genug Schwierigkeiten zu überwinden, bis sie endlich auf ihrem Schinakel gen Westen fahren dürfen. Vor dem mutigen Versuch des “Letzten Erfreulichen Operntheaters”, das Singspiel nur mit Klavier, Oboe und Flöte instrumentiert auf ihre Kellerbühne zu stellen, türmte sich bei der zweiten Vorstellung ein weiteres Hindernis auf: die Grippe-bedingte Absage des Osmin-Darstellers. Gerade aus dem dadurch nötigen Provisorium erwuchsen dem Abend aber die besten Momente. »

06 Mar 2005

A Preview of Un ballo in maschera in Kansas City

In the resonant, garishly lighted basement of Trinity United Methodist Church, art is imitating life. »

06 Mar 2005

Nozze in Baltimore

Human beings will always be good for a laugh, especially when they’re in full pursuit of sex. »

06 Mar 2005

Fidelio at Carnegie Hall

Beethoven’s “Fidelio” is an opera about freedom that is shackled by a limited libretto. A great performance can unlock its treasures. A mediocre one can feel like prison, as the Collegiate Chorale’s performance on Thursday night at Carnegie Hall underlined. It was a long and murky night, although there were many glints of bright light that tantalizingly shone through. »

04 Mar 2005

Stiffelio at Sarasota Opera

SARASOTA — Many operas are all about the music, but in “Stiffelio” composer Giuseppe Verdi paid a lot more attention than usual to the words. »

04 Mar 2005

Ravel and Poulenc at the Barbican

On paper, Ravel’s mock-Spanish “comédie musicale” (1904) and Poulenc’s mock-everything “opéra bouffe” (1944) should make a toothsome double bill. Less than an hour each, elegantly funny in quite different veins – and excellent for the Guildhall School of Music and Drama, for no heroic voices are required. But the team’s Ravel proved a lame affair, and its Poulenc – sung in English, with the same director (Stephen Langridge) and conductor – a delight. »

04 Mar 2005

Handel's La Resurrezione in Chicago

Since Brian Dickie arrived as general director, Chicago Opera Theater has become the place to catch Handel’s operas staged with a bold theatrical flair that’s fresh and cutting-edge. The company began its 2005 season with a beautiful and inspiring production of a Handel rarity, “La Resurrezione,” Wednesday night in the Harris Theater for Music and Dance at Millennium Park. »

03 Mar 2005

Musica Sacra at Carnegie Hall

Richard Westenburg led his 36-member Musica Sacra chorus and a small orchestra in works by Bach and Mozart at Carnegie Hall on Tuesday evening, and for the occasion, he revived one of the group’s hits from the 1970’s – the rarely heard early version of Bach’s Magnificat (BWV 242a) [sic]. »