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Elsewhere

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

Barbara Hannigan sings Berg and Gershwin at the Barbican Hall

I first heard Barbara Hannigan in 2008.

Christina Scheppelmann appointed General Director of Seattle Opera

Scheppelmann heads to the Pacific Northwest following leadership roles in the U.S., Europe, and the Middle East

New perceptions: a Royal Academy Opera double bill

‘Once upon a time …’ So fairy-tales begin, although often they don’t conclude with a ‘happy ever after’. Certainly, both Tchaikovsky’s Iolanta and Ravel’s L’enfant et les sortilèges, paired in this Royal Academy Opera double bill, might be said to present transformations from innocence and ignorance to experience and knowledge, but there is little that is saccharine about their protagonists’ journeys from darkness to enlightenment.

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.


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Performances

24 Mar 2019

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci! »

Recently in Performances

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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]. »

03 Mar 2005

Villazón at the Wiener Staatsoper

Er ist ein Bühnenmensch. Durch und durch. Schon ein Interview mit ihm ist eine äußerst unterhaltsame Dar bietung: witzig, inspiriert und sprühend lebendig. “Ich wollte immer alles darstellen,” sprudelt es aus dem 33-jährigen Mexikaner hervor. Mit Kindereien hat er sich dabei nicht aufgehalten. Bereits mit elf Jahren gehörte sein literarisches Interesse Camus und Kafka. “Die Figuren aus den Romanen waren für mich real, ich wollte so sein wie sie.” Das hat er bisweilen im Extrem ausgelebt. Die Biografie Gandhis hat den Jugendlichen später so fasziniert, dass er mit runder Brille und Glatze zur Schule ging. Das überbordende Ausdrucksbedürfnis entdeckte auch bald den Gesang. Vorerst unter der Dusche, am liebsten die Songs von “Perhaps Love”, Placido Domingos Cross-over-Album mit dem Popsänger John Denver – beide kann Villazón heute noch köstlich imitieren. »

02 Mar 2005

Is it Bach or is it Koopman?

Am Anfang die Frage: Ist’s Bach, ist’s Koopman? Von Johann Sebastian Bachs Markus-Passion ist nur der Text erhalten geblieben. Der Holländer Ton Koopman hat nach einer gängigen Kompositionsmethode Bachs – der Wiederverwendung eigener Werke – die Arien und Choräle der Passion gesetzt und die Rezitative dazwischen neu komponiert. Man könnte sagen, einen handwerklich bearbeiteten Bach erschaffen. An dieses ganz besondere Stück wagte sich nun Philipp Amelung mit seinem Bach-Ensemble und bescherte damit dem Publikum im Münchner Herkulessaal einen äußerst spannenden Abend. »

02 Mar 2005

Stravinsky's Les Noces and Oedipus Rex at the Barbican

After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich’s The Nose and a Stravinsky double bill. Although the two Stravinsky works – the “choreographic scenes” of Les Noces and the “opera-oratorio” Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring. »

01 Mar 2005

Chabrier's Roi malgré lui in Lyon

Wagnérien passé à la postérité grâce à une espagnolade (España) représentative du brio orchestral français, Emmanuel Chabrier a suscité l’admiration de Ravel et de Stravinsky avec Le Roi malgré lui, dont l’Opéra de Lyon présente une nouvelle production. Pourtant, cet opéra-comique repose sur un livret que peu de commentateurs ont apprécié avec bienveillance. A commencer par le compositeur, aigri par les multiples remaniements du texte : “Une bouillabaisse de Najac et de Burani, que fait cuire Richepin et dans laquelle je colle quelques épices.” »

01 Mar 2005

Bostridge and Uchida in Vienna

Einen Schubert-Liederabend im Großen Musikvereins-Saal zu veranstalten, ist eigentlich eine Schnapsidee. Umso mehr, als ein so persönlicher und intimer Liedzyklus wie die “Schöne Müllerin” auf dem Programm stand, zu singen von Ian Bostridge mit seinem zarten, schlanken Tenor. Immerhin konnten dem Publikum auf diese Weise zwei Schubert-Experten auf einen Schlag präsentiert werden: Bostridge, der zuletzt mit seiner Einspielung der “Winterreise” für Aufsehen sorgte, und Mitsuko Uchida, sicher eine der führenden Schubert-Interpretinnen unter den Pianisten. »

27 Feb 2005

Rossini's La Cenerentola in Milwaukee

Vivica Genaux hasn’t been singing long enough for the whole world to recognize it, but she is one of the greatest singers of our day. Genaux returned Friday to the Florentine Opera, to sing the title role in Rossini’s “La Cenerentola.” Her voice was huge, and as dark and rich as a profound red wine. Rarely do voices with such weight come to roles such as this, which are loaded with quick, tricky ornaments and aerobatic coloratura tangents. For all its power, Genaux’s singing seems effortless, and her voice is incredibly agile. She articulated every note with utter clarity and accuracy, even in the fastest runs and at the extremes of her range. »

27 Feb 2005

Chicago Opera Theater to Present Handel's La Resurrezione

From an artistic standpoint, Chicago Opera Theater’s inaugural season last year in the new Harris Theater for Music and Dance in Millennium Park couldn’t have been more successful. Productions of Monteverdi’s “The Coronation of Poppea,’’ the haunting Chicago staged premiere of Benjamin Britten’s “Death in Venice’’ and a version of Rossini’s whimsical “Il viaggio a Reims’’ set in the American Wild West were outstanding on both musical and theatrical levels. »

27 Feb 2005

Fledermaus at Opera Australia

This is the triumph of style over content certainly, but in Fledermaus everything triumphs over content. The director, Lindy Hume, with designers Richard Roberts and Angus Strathie, has transposed 19th-century Austro-Hungarian imperial decadence onto 20th-century American imperial decadence, marrying brash New York energy with creaking Viennese charm. »