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Elsewhere

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Soprano Eleanor Dennis performs Beethoven and Schubert at the 2019 Highgate International Chamber Music Festival

When soprano Eleanor Dennis was asked - by Ashok Klouda, one of the founders and co-directors of the Highgate International Chamber Music Festival - to perform some of Beethoven’s Scottish Songs Op.108 at this year’s Festival, as she leafed through the score to make her selection the first thing that struck her was the beauty of the poetry.

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Giovanni Pacini: Medea

Medea: Melodramma tragico in three acts.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’

There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.


OPERA TODAY ARCHIVES »

Performances

10 Nov 2019

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe. »

Recently in Performances

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06 Jul 2005

Mitridate, re di Ponto at Covent Garden

I can only dimly imagine how this singular and arresting production was first greeted at Covent Garden back in 1991. To this newcomer’s eye it is still both amazingly original in its design and concept, and yet also oddly frustrating. Essentially, director Graham Vick and designer Paul Brown and their team created a world, half historic, half fantastic, and one is left with a visual memory replete with starkly simple blood-red sets, kaleidoscopically coloured bizarrely shaped costumes and arrowed shafts of silver light, almost painfully reflecting from armoured breastplates. The time is about 65 BC and the world is one of an old Asia Minor versus a rising Rome, with an ageing King Mitridate fighting off both martial and sexual invasions of his territories. The heavy, stylised, costumes — extravagant to the point of caricature — are in themselves a theatrical tool that both enable and yet also constrain the drama of this young Mozart’s early work. If the singers were disadvantaged physically by what they were wearing, they didn’t seem to show it — although to be fair none had to move at anything more than a dignified pace. It was the supporting actors/dancers, Kabuki-like, who supplied the human activity — including a memorable “a capella” rhythmic foot-stamping war-interlude. All other dramatic extremes — be it fevered love declaration, jealous rage or elegant death — was conducted in an almost balletic minimalism of physical effort. »

05 Jul 2005

La Bohème in Zurich — Two Reviews

Giacomo Puccini’s “La Boheme” is really a winter piece. It is the cold and the dark that draw seamstress Mimi together with poet Rodolfo. Christmas in Cafe Momus brings the illusion of warmth, though not even the spring of the last act can take the chill from dying Mimi’s hands. »

05 Jul 2005

Giulio Cesare at Glyndebourne — Four Reviews

LEWES, England, July 3 – Glyndebourne’s achievements are too various for one to speak of a company style, but there is certainly a Glyndebourne scent: of excellence and elegance, of singers and musicians enjoying at once the freedom gained by thorough rehearsal and the intimacy of a small, warm house. And its waft is strong, luxurious and exciting around the new production of Handel’s “Giulio Cesare,” which opened on Sunday afternoon. »

04 Jul 2005

Turandot at Santa Fe

The Santa Fe Opera waited almost 50 years to mount Puccini’s final opera, Turandot—a warhorse of a work full of color and pageantry, and a heart-breaking love story. Puccini died before he could finish the work, whose story comes from myth and fable. »

02 Jul 2005

A Review of Kupfer's Production of Der fliegende Holländer

When I was young, my father said: Don’t judge others before hearing them through, listen before interrupting. His advice applies so well to Wagnerian opera, with its potential for diverse interpretation. The greatest works of art have the power to speak beyond restricted parameters of space and time. We may have a preference for one style or another, but when we listen to a new production, it’s a good idea to listen to it for what it conveys on its own terms. Whether we like or dislike something isn’t ultimately the point, for we learn something along the way. »

30 Jun 2005

Rossini's Il viaggio a Reims

When Rossini’s Il viaggio a Reims was rediscovered more than two decades ago, its musical brilliance was immediately recognised. But its almost nonexistent plot, designed to incorporate an abundance of superstars, lent credence to Rossini’s decision to withdraw the opera once it had served its purpose — providing entertainment for the coronation of Charles X of France. Experiencing Il viaggio in the theatre, however, reveals its unconventional drama about a collection of upper-crust Europeans thwarted in their plans to attend the coronation to be an essential strength. The very triviality points up human foibles and, in the context of Rossini’s elaborate music, supplies a source of hilarity. »

30 Jun 2005

Così fan tutte at San Francisco

The San Francisco Opera’s 2004-05 season is winding down in nicely palindromic fashion. The company’s final offering, which opened (or reopened) Friday night at the War Memorial Opera House, is a revival of the handsome new production of Mozart’s “Così fan tutte” that began the season back in September, and its virtues remain essentially intact. »

28 Jun 2005

Meyerbeer's Les Huguenots at Liège

This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous ‘nuit de Saint-Bartholomée’ (St. Bartholomew’s Day Massacre). One is now almost so used to the excesses of ‘das Regie-Theater’ that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing. »

27 Jun 2005

The Fairy Queen at Aldeburgh Festival

NO FLOTILLA of swans, no dancing green men, no grand descent of the Sun King; in fact no big production numbers at all. Yet this concert performance of Purcell’s The Fairy Queen will be a hard act for the forthcoming Proms appearance to follow. »

27 Jun 2005

Carmen at Styriarte

Vom Bundeskanzler bis zu Deutsch lands Feuilletonistinnen waren alle da. Denn mit Andrea Breth und Ni kolaus Harnoncourt hatten zwei Liebkinder des Kultur-Establishments erstmals gemeinsam eine Musiktheaterproduktion zu erarbeiten. Derartige Kunst-Bande zu knüpfen, ist die nobelste Aufgabe von Festspielen. Womit die “Styriarte” für ihre heurige Eröffnung ein adäquates Zeichen gesetzt hat. Auf der Strecke blieb dabei Bizets “Carmen”; oder zumindest das, was man bisher dafür gehalten hat. »

26 Jun 2005

Chief Joseph at Berliner Staatsoper Unter den Linden

Das schönste Teil steht als Reklame vor der Tür: einer von Jimmy Durhams Büffeln, gehäutet und skelettiert. Ansonsten hat der indianische Künstler und Bühnenbildner eine Mischung aus Showbühne mit Aussichtspodest und Bahnhofshalle für Hans Zenders neue Chief Joseph-Oper gebaut: Vorn links auf dem teilweise überdeckten Orchestergraben ein Riesenmüllcontainer, aus dem später der kleine Joseph oder auch Hin-mah-too-yah-lat-kekht, was soviel heißt wie “Der Donner, der über die Berge rollt”, kriecht und den Vater befragt, wie das denn sei mit den Weißen, ob sie alle Lügner sind, oder ob man einigen von ihnen wenigstens trauen kann, bevor er selbst das Kommando übernimmt, übernehmen muss. In rotbraunem Siedleranzug, nicht in umbrafarbener Federkluft, geht er dann sinnend durch die Szene. »

22 Jun 2005

La Bohème at Covent Garden

This production of Puccini’s classic, originally directed by John Copley, began life in 1974 and is now the oldest in the Royal Opera’s repertory. It’s still serviceable in its old-fashioned way, at least when lit with sufficient discretion to hide its increasing shabbiness. »

20 Jun 2005

Britten's Gloriana in St. Louis

ST. LOUIS, June 19 – In more than 50 years on the British throne Queen Elizabeth II has shown scant interest in opera. So it is paradoxical that one of the major events of her coronation ceremonies was the 1953 premiere by the Royal Opera at Covent Garden of Benjamin Britten’s “Gloriana,” an elaborate three-act work about the first Queen Elizabeth, with a libretto by William Plomer based on Lytton Strachey’s book “Elizabeth and Essex.” »

19 Jun 2005

Schade and Hvorostovsky in Vienna

Die Zugabe war klug gewählt: “Wien, Wien nur du allein” sang der deutsch-kanadische Tenor Michael Schade zum Abschluss seines Liederabends im Konzerthaus. Bei so viel Zuneigung war ihm frenetischer Beifall sicher – und mancher Lacher für die drollige Aussprache. Den Applaus hatte er sich verdient. “Of Ladies and Love” war das Motto des Konzerts mit Liedern von Schubert, Beethoven, Liszt, Faure, Ravel und Strauss. Besonders mit leidenschaftlichen, ungestümen Liedern überzeugte er, etwa mit Liszts “Tre sonetti de Petrarca” oder Beethovens “Adelaide”. Hier kam Schades volle, schön timbrierte Stimme hervorragend zur Geltung, und auch im Ausdruck schienen ihm dramatische Liebeserfahrungen näher zu liegen als innig-verzärtelnde. »

19 Jun 2005

Boris Goudenow and the Boston Early Music Festival

BOSTON, June 17 – For fans and performers of early music, this city is paradise for a week every other June, when the Boston Early Music Festival sets up its combination concert marathon and trade show. The festival offers performances every night between 5 and midnight. The centerpiece is always a lavishly produced Baroque opera – this year’s is Johann Mattheson’s long-lost “Boris Goudenow” – but concerts by imported ensembles and soloists, and by the festival’s period instrument orchestra, are also a strong draw. »

16 Jun 2005

Rossini's La gazzeta at the Liceu

El dramaturgo y premio Nobel de Literatura italiano Dario Fo confesó ayer que ha «saqueado» a Rossini y la tradición de la ‘comedia dell’arte’ para hacer la escenografía de la ópera ‘La gazzeta’ del compositor italiano, que el Liceo barcelonés estrenará el próximo día 20. ‘La gazzeta’ narra la historia de don Pomponio, que quiere casar a su hija con el mejor partido. Para ello, inserta un anuncio en el diario en el que hace un elogio ditirámbico. Aunque la obra estaba llamada a tener éxito, la escasa promoción propició, según Fo, que no recibiera el interés del público cuando se estrenó en Nápoles en 1816. »

15 Jun 2005

Il Barbiere di “Siviglia” in Antwerp

Very attentive readers will have noticed I put “Siviglia” in quotation marks as it refers in this production to the name of an Italian hairdresser’s salon and not to the Spanish city. Director Joosten who always keeps an attentive eye on surtitles and has them changed when the sung lines are contrary to the happenings on the scene nevertheless let a reference to the Spanish Prado slip in. »

14 Jun 2005

The Midnight Court at Queen of Puddings Music Theatre

Irish fairies can be malign spirits, but they’ve done nothing but good for Queen of Puddings Music Theatre. This small Toronto company launched its only production of the season at Harbourfront Centre on Saturday, and a scant hour later had scored its biggest artistic success ever. »

09 Jun 2005

Falstaff at LA Opera

LOS ANGELES (Hollywood Reporter) – “Falstaff” might have been Verdi’s last opera; it might have been Verdi’s greatest opera; it is, without doubt, Verdi’s only and most hilariously comic opera. »

09 Jun 2005

Felicity Lott at Wigmore Hall

“What’s a dame like me doing in a dump like this?” It takes a DBE to get away with a line like that in a venue as august as the Wigmore Hall – and this was how Felicity Lott wrapped up a recital marking 30 years of performing here with pianist Graham Johnson. The programme, Fallen Women and Virtuous Wives, is one the pair are currently touring. While its humour found its niche in the Wigmore Hall, how it will play in Luxembourg next week is anyone’s guess. »

09 Jun 2005

Der Freischütz at Carnegie Hall

If Carl Maria von Weber never quite made it into the grand procession of Romantic giants, he left behind an opera of indestructible charm. “Der Freischütz,” which Eve Queler’s Opera Orchestra of New York undertook on Monday night at Carnegie Hall, is first of all a darling of historians – a musicological ground zero for the German musical theater. »