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Elsewhere

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.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Puccini's Le Willis: a fine new recording from Opera Rara

The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

Mark Padmore reflects on Britten's Death in Venice

“At the start, one knows ‘bits’ of it,” says tenor Mark Padmore, somewhat wryly, when I meet him at the Stage Door of the Royal Opera House where the tenor has just begun rehearsals for David McVicar’s new production of Death in Venice, which in November will return Britten’s opera to the ROH stage for the first time since 1992.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

Annilese Miskimmon appointed as English National Opera’s Artistic Director

English National Opera has appointed Annilese Miskimmon as Artistic Director.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.


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Performances

21 Oct 2019

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.  »

Recently in Performances

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18 Apr 2005

Anna in Köln

KÖLN. Als Anna Netrebko ihre Stimme zum silbernen Mond hob wie Rusalka in der gleichnamigen Märchenoper Antonín Dvoráks, tönten die ersten Bravi der 8000 Gäste in der Großoper Kölnarena. Annas Aufstieg ist märchenhaft verlaufen; von Kälte, dem Problem der Nixe Rusalka, war in der gut geheizten und besuchten Halle keine Spur, und einen Prinzen musste sie nicht verführen, sie hat ihn einfach angerufen. José Cura, der gut aussehende und zudem stimmgewaltige Tenor aus Argentinien, war der Einladung gern gefolgt. »

17 Apr 2005

Nabucco at Opera Australia

Despite Nabucco’s rudimentary plot and underdevelopment of its subsidiary characters, its dignity is maintained through its music, which, although still primitive by Verdian standards, already shows signs of the greatness to come. »

17 Apr 2005

Michelle DeYoung in Chicago

Michelle DeYoung, to seriously understate the fact, looked radiant. The first of three performances as Sieglinde and Waltraute in Lyric Opera of Chicago’s hugely successful production of Wagner’s “The Ring of the Nibelung” was behind her, and the American mezzo-soprano seemed to be counting the minutes until she would be back on the Civic Opera House stage making passionate love to Placido Domingo, Siegmund to her Sieglinde in this production. Her cloud of long, crisply crinkled blond hair caught the light like an angel’s aureole as she settled into a conference room backstage at Lyric. She was revved up to talk about her transformation from a Colorado-reared, conservative Christian teenager whose chosen life goal was to marry and have lots of children into an opera singer in demand across the United States and Europe. »

17 Apr 2005

La Vie parisienne at Théâtre Silvia-Monfort

Fondé en 1985 par Olivier Desbordes, Opéra Eclaté Midi-Pyrénées est bien connu des amateurs d’art lyrique qui fréquentent, au mois d’août, le festival de Saint-Céré (Lot). Cette compagnie nationale de théâtre musical, fixée depuis 1996 à Tarbes (Hautes-Pyrénées), trouve toutefois sa raison d’être dans une décentralisation qui s’est traduite pendant vingt ans par plus de 900 représentations données en France et à l’étranger. »

16 Apr 2005

García's L'isola disabitata at Wake Forest University

The second of two performances of Manuel García’s L’isola disabitata (The Uninhabited Island) in WFU’s Brendle Recital Hall on April 8 was a happy marriage of musicological scholarship and practical vocal pedagogy. I am familiar with Teresa Radomski’s work as an opera and oratorio soloist; the focus of her scholarship – the careful transcription of manuscripts and the creation of a performing edition of a salon opera by García – was fascinating. Her splendid program notes place the work in its historical context and recount aspects of her research. She transcribed the score from a complex original manuscript in the Bibliothèque Nationale (Paris) while on research leave. With her brother, musicologist James Radomski, she completed a critical edition of the opera which is being published by A-R Editions, Inc. »

15 Apr 2005

Ariodante in Vienna

Am 8. Jänner 1734 wurde erstmals eine Oper von Georg Friedrich Händel am Royal Opera House in Covent Garden gespielt. “Ariodante” hieß sie – und wurde ein voller Publikumserfolg. Bald darauf fiel das Werk in einen 200-jährigen Dornröschenschlaf. Erst ab 1927 erlebte es eine Renaissance, wurde in Stuttgart gespielt, an der Berliner Staatsoper, beim Salzburger Pfingstfestival. In Wien war die opera seria, die auf demselben Stoff beruht wie Shakespeares “Viel Lärm um nichts” (auf “Orlando furioso” von Ariosto), noch nie zu sehen. »

14 Apr 2005

Tristan at Paris

PARIS, April 13 – Huge, dense, taxing, with almost all the action taking place in the heart, Wagner’s “Tristan und Isolde” is notoriously difficult to stage. Indeed, the composer himself abandoned his first attempt in Vienna in the early 1860’s after no fewer than 77 rehearsals. Now, in a daring experiment, the Paris National Opera has invited the American video artist Bill Viola to accompany the work with his own visual commentary. »

14 Apr 2005

Masked Ball at Covent Garden

The aesthetics of this new staging have been determined by a co-production deal with Madrid and Houston, rather than by any wish to explore Verdi in a modern context. Like La forza del destino earlier this season, it is an old-fashioned singers’ show – safe, bankable, peppered with big-house spectacle but oblivious to the characters’ psychology and Verdi’s elegantly crafted dramatic situations. The onus for making those situations come alive once again falls on Antonio Pappano. »

11 Apr 2005

Faust at Linz

Kam da doch glatt ein Franzose (ausgerechnet!) und stellte 1859 nonchalant das deutsche Literatur-Nationalheiligtum vom Kopf auf die Füße! Sprich: Ignorierte Goethes Motto “Wer vieles bringt, wird manchem etwas bringen” und nahm des Dichterfürsten Ideendrama als Text-Steinbruch einer amour fou. Bei den deutschen Kritikern fiel das Stück durch, das Publikum hingegen war begeistert, bekam es doch genau das zu sehen, wonach es in einer Oper dürstet. »

11 Apr 2005

Pearl Fishers at NYCO

The new “Pearl Fishers” that arrived at New York City Opera on Sunday afternoon came from the San Diego Opera, but it looks as if it came from the opening ceremony of the Olympic Games. Maybe it was the fluorescent hues; or the attempt to create local color with tinselly choreography; or the stylized patterns painted on the stage, like sun on sand, and the women’s bikinis, which evoked the flavor of a recent addition to the Games, beach volleyball. »

11 Apr 2005

Olga Borodina in New York

My last encounter with Olga Borodina as a songstress was a particularly memorable one, and I daresay it was for her as well. In May 2001 she postponed a Carnegie Hall recital literally at the last minute, a hastily scrawled piece of paper taped over the poster out front our only greeting. Ms. Borodina was suffering from allergies and gamely attempted to forge ahead a week later with James Levine at the piano. The afternoon was challenging, but the half-empty hall was populated by a dedicated group that admired her courage. »

11 Apr 2005

More on Mignon at OONY

Once upon a time, Freedom Fries didn’t exist, no one made apologies for charm and grace, and operas like Ambroise Thomas’ “Mignon” (1866, revised 1870) ruled the boards. As it happens, April 2005 is a throwback to those innocent days of musical Francophilia in New York. The Philharmonic just performed “Damnation of Faust” by Berlioz; a new staging of Bizet’s “The Pearl Fishers” opened yesterday at New York City Opera, and the Metropolitan Opera presents Gounod’s once-ubiquitous “Faust” with a promising cast later this month. »

10 Apr 2005

Rossini's Il Viaggio a Reims at the Mariinsky

Rossini’s long-lost, magnificent “party piece,” originally created for an army of bel canto singers, “Il Viaggio a Reims,” is being revived at the Mariinsky Theater, where it premieres on Wednesday with a further performance on April 16. The French actor and director Alain Maratrat is responsible for the staging, while his compatriot Pierre Alain Bertola created the sets. With their show, the French team promises an explosive fusion of Rossini’s subtle comedy and raving Russian madness. »

10 Apr 2005

The Crucible in Boston

Sex, religion and real estate: Put ‘em together, and you’ve got a plot that will bring out the best and the worst in any cast of characters. »

09 Apr 2005

Madama Butterfly at Volksoper Wien

Sieben von zwölf seiner Bühnenwerke sind nach einer Frau benannt. Puccini selbst wird der Satz nachgesagt: “Wenn ich nicht mehr verliebt bin, begrabt mich!” Was lag daher für Regisseur Stefan Herheim näher, als sich der “Madama Butterfly” aus dieser Perspektive zu nähern, die Bühne zeitweise zu einem Puccini-Museum zu machen. Mit stummen Auftritten von Tosca, Mimi und Manon Lescaut, aber auch dem Komponisten selbst. Ungewohnt auch Butterflys Ende: Sie muss in einem blutrünstigen Harakiri ihr Leben lassen. »

09 Apr 2005

Die Tote Stadt in Amsterdam

Die Tote Stadt is often described as Erich Korngold’s masterpiece. An enormous success when first performed simultaneously in Hamburg and Cologne in 1920, it has become one of those pieces every opera fan has heard of, yet few have seen: it has never been staged in Britain. That makes the new production from Netherlands Opera a real collector’s item. Musically and dramatically, it does the work proud. What it can’t do, though, is turn a deeply flawed piece into a good one. »

09 Apr 2005

La finta giardiniera in Cleveland

The CIM Opera Theater is offering two revelations this week, one old and one new. What a joy to experience Mozart’s neglected “La finta giardiniera,” which the precocious fellow wrote at the age of 18. The more recent discovery is soprano Jung Eun Oh, who was a sensation in the title role at Wednesday’s opening. »

09 Apr 2005

Tancredi in Toronto

There is one conspicuous reason for reviving Rossini’s Tancredi in our time. Fortunately that reason — the availability of the Polish contralto Ewa Podles — underlay the Canadian Opera Company’s production of that work which opened Friday night for six performances at the Hummingbird Centre in Toronto. »

08 Apr 2005

Mussorgsky's Khovanshchina in Frankfurt

Alcoholism, depression and loneliness were a few of the things that killed Modest Mussorgsky in 1881. He was 42 years old. He left behind the unfinished piano score of Khovanshchina, a vast historical opera that was, among other things, a criticism of Tsar Peter I. »

08 Apr 2005

Ambrose Thomas’s Mignon at OONY

Mignon at OONY turned out to be a mixed experience last night. Eve Queler is controversial as a conductor and last night’s opera did not play to her strengths or do anything to conceal her deficiencies. The overture began in a plodding fashion and only came intermittently alive in the conclusion based on the coloratura showpiece for Philene. Throughout, Mignon has some really lovely arias and ensembles but a lot of note spinning as well and not just during the recitatives (the opera was presented in Thomas’s second of three scores, the one in which he suppressed most — not quite all — of the spoken dialog and wrote his own recits). Ms Queler provided almost nothing to enliven, vary or give grace and charm to these conventional passages. »

07 Apr 2005

Der Ring in Chicago

For opera conductors, the Ring cycle remains the professional Everest. So the fact that Andrew Davis has just completed his first Ring at the Lyric Opera in Chicago marks not merely a career peak for one of this country’s most important conductors, it is also a major event for British music – even if it is taking place thousands of miles from home. »

07 Apr 2005

Un ballo in maschera at the Met

Humor is not a quality normally associated with Verdi. He was a dour fellow, dubbed “the bear of Busetto” by his long-suffering wife. His first comic opera, “Un giorno di regno,” was a crashing failure, and “Falstaff,” his final work for the stage, looks more intently into the abyss than most commentators care to admit. »

06 Apr 2005

More On Fanciulla

While ruminating about “Madama Butterfly” in these pages the other week, I mentioned that the de facto premiere of the work was not in Italy at all but rather New York, since the David Belasco play originally opened on Herald Square. In the case of “Girl of the Golden West,” both the Belasco theatrical piece and the Puccini opera were launched in Manhattan, the latter under Toscanini in 1910. »

06 Apr 2005

ENO Closes the Ring

Four years after the initial concert performances, English National Opera’s Ring cycle has reached its Wagnerian summit. It is not a triumph of the kind that the young company enjoyed with its first-ever cycle in the 1970s, but at least the staging is complete, with cast and production team intact, as planned. Other, more prestigious companies have achieved less. »