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Elsewhere

Miracle on Ninth Avenue

Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.

Detlev Glanert: Requiem for Hieronymus Bosch (UK premiere)

It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work - he did, after all, study with him between 1984 to 1988.

Death in Venice at Deutsche Oper Berlin

This death in Venice is not the end, but the beginning.

Glanert: Requiem for Hieronymus Bosch - UK premiere

The culmination of the BBC Symphony Orchestra’s Total Immersion: Detlev Glanert on Saturday 7 December will be the UK première of the German composer’s Requiem for Hieronymus Bosch conducted by Semyon Bychkov.

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Insights on Mahler Lieder, Wigmore Hall, Andrè Schuen

At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.

Ermelinda by San Francisco's Ars Minerva

It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).

Wozzeck in Munich

It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

Korngold's Die tote Stadt in Munich

I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.

Exceptional song recital from Hurn Court Opera at Salisbury Arts Centre

Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.

Lohengrin in Munich

An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.

Hansel and Gretel in San Francisco

This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.

An hypnotic Death in Venice at the Royal Opera House

Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d’art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer ‘would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep’.

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Bampton Classical Opera's Young Singers' Competition - Winner Announced

Bampton Classical Opera is delighted to announce that the winner of the 2019 Young Singers’ Competition is soprano Lucy Anderson. The runner-up prize has been awarded jointly to soprano Daniella Sicari and mezzo-soprano Carolyn Holt. The winner of the accompanists’ prize, a new category since 2017, is Dylan Perez, who accompanied Lucy Anderson.

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.


OPERA TODAY ARCHIVES »

Performances

Photo by B.A. Van Sise
09 Dec 2019

Miracle on Ninth Avenue

Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up. »

Recently in Performances

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01 May 2005

Magic Flute in Ferrara

The power of the very greatest conductors to reinvent whatever they conduct is one of music’s great mysteries. Claudio Abbado’s conducting is not the only reason to catch the production of Mozart’s Die Zauberflöte being toured in Italy and Germany by the Mahler Chamber Orchestra, but it is by a very long way the most important. Abbado’s performance is, quite simply, mesmerising. It is so full of musical insight and operatic experience that every bar seems perfectly placed, every detail of the scoring perfectly illuminated. »

01 May 2005

La Bohème at the Florentine

Bring a hankie, the Florentine just opened “La Bohème.” Puccini’s opera, which combines likable characters, elements of verismo realism, poignantly beautiful music and a tragic tale of young love lost, is one of the world’s best-loved operas. The Florentine Opera opened a strong production of the classic on Friday, in which director Lillian Groag found a balance between the story’s humor and pathos. »

01 May 2005

Figaro at the Beach

Monteverdi’s “Orfeo” set in a chic apartment on Manhattan’s Upper East Side, Mozart’s “Cosi fan tutte’’ played out in a trendy club complete with burly, stone-faced doormen and a sleek VIP room. Chicago Opera Theater has had some smashing successes with stage director Diane Paulus’ contemporary take on centuries-old operas. She is back this spring, teamed once again with conductor Jane ver, her colleague on four previous COT productions, for a fresh look at another Mozart opera, the bittersweet “The Marriage of Figaro.’’ A “Figaro’’ set in Miami’s South Beach, anyone? »

29 Apr 2005

Suor Angelica and Pagliacci at Liège

Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I’d love to hear Angelica’s second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent ( nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly. »

29 Apr 2005

Giovanna d’Arco at Antwerp

The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81 year old Silvio Varviso spoke briefly but forcefully and asked for the spectators’ support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpasses) Pappano’s former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera. »

29 Apr 2005

The Bartered Bride at Julliard

In the dark before the lights came up, the stage looked like a set for “Oklahoma!,” down to the dozing cowpoke. The rising lights revealed the object that had looked like a windmill to be a maypole and the setting to be Czech, yet the “Oklahoma!” resemblance didn’t altogether fade. Bedrich Smetana’s opera “The Bartered Bride” has a whiff of an American musical to its simple sweet story (boy loves girl, boy figures out how to get together with girl) and pretty tunes, and the Juilliard Opera Center’s production, which opened on Wednesday, brought out the similarities. »

29 Apr 2005

Upshaw in Downtown Philadelphia and Carnegie Hall

A few seconds into Dawn Upshaw’s singing, you decide that the most important thing is purity of tone – honest, solid, unadorned tone – and Upshaw has it in spades. »

29 Apr 2005

Bo Skovhus at Wigmore Hall

We don’t hear Bo Skovhus in the UK as much as we should. One of today’s great singers, the handsome Danish baritone is both a star and something of a sex symbol on the European mainland, although his work has been inexplicably undervalued by British opera companies and concert managements. »

28 Apr 2005

Tales of Hoffmann at Baltimore

Looking for an escape—from reality? The Baltimore Opera Company has just the ticket. Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) is not called an “opera fantastique” for nothing. »

28 Apr 2005

Hansel and Gretel at Inverness

WHAT was that about working with children? Halfway through Humperdinck’s fairytale opera a gang of local kids troops onstage dressed in sheets — angels, see — and hangs around for a bit before sloping off again: the naffest piece of staging I’ve collected in a while, and indicative of some confusion about the purpose of Scottish Opera’s mid-scale touring arm. »

28 Apr 2005

Boris Godounov at the Bastille

L’Opéra de Paris redonne à partir d’aujourd’hui, à Bastille, le Boris Godounov créé en octobre 2002 sous la baguette de James Conlon et dans la mise en scène de Francesca Zambello. C’est Jiri Kout qui devait assurer la direction musicale de ces nouvelles représentations. Empêché pour des raisons de santé, il sera remplacé par Alexander Vedernikov, directeur musical et chef principal du Théâtre Bolchoï qui assurera les sept premiers concerts, laissant à Alexander Titov, chef invité du Théâtre Marinski depuis 1991, le soin de prendre le pupitre pour les deux derniers. Une façon de recréer à Paris la rivalité artistique qui oppose Moscou à Saint-Pétersbourg. »

28 Apr 2005

Faust at the Met — Another View

In opera, embarrassment comes with the territory. Sooner or later, if you’re a fine and dignified singer, you will find yourself trapped onstage in a situation or a costume so stupid that the voice of God couldn’t save the scene. For René Pape, who has the body and bearing of a Hussar and who is probably the world’s best basso, the moment came in Act IV of the Metropolitan Opera’s new production of “Faust,” the scene in which the illegitimately pregnant Marguerite enters a church to repent and finds a taunting Mephistopheles. »

28 Apr 2005

Zemlinsky's The Dwarf in Budapest

IMAGINE you’ve got a birthday coming up. What would you like this year? How about a dwarf? I didn’t think so. Well, how about a dwarf who doesn’t know how ugly and misshapen he is, and in fact thinks he’s attractive and loveable? »

26 Apr 2005

Alexandrina Milcheva Opens the 9th Easter Festival at the Sofia National Opera

On April 23, the 70-year old Bulgarian mezzo, Alexandrina Milcheva, gave a recital of a full value program at the Sofia opera, including airs from: “Orpheus” (Gluck), “Dido and Eneas”(Purcell), “Faust” (Gounod), “Il Trovatore”, “Werther”(Massenet), “Adrienne Lecouvreur”(Cilea)and “Carmen.” »

26 Apr 2005

Kilar's Missa pro Pace at Alice Tully Hall

Amid the annual parade of world-class orchestras passing through New York, a visit by the Wroclaw Philharmonic of Poland could easily have been overlooked – and to some extent it was, in a sparsely attended concert at Alice Tully Hall on Sunday afternoon. But on Saturday evening, partly through an accident of timing, the orchestra played to a nearly full house in St. Patrick’s Cathedral. »

26 Apr 2005

Boulevard Solitude at Graz

In the middle of 2006, when you’d rather scream than hear another note of Mozart, take heed of a less-heralded musical birthday: Hans Werner Henze will turn 80. »

25 Apr 2005

Michelle DeYoung Steps In

In the wake of soprano Helene Hunt Lieberson cancellation of a Friday appearance at the University of Chicago’s Mandel Hall, management was fortunate to land Michelle DeYoung, one of the finest in a strong contingent of young American mezzos. »

24 Apr 2005

Mozart's La Finta Giardiniera at Boston University

Last night I saw the second of four performances of Mozart’s La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition. »

20 Apr 2005

Berg's Lulu at ENO

Richard Jones’s English National Opera production of Berg’s Lulu was widely regarded as one of the company’s finest achievements when it premiered in 2002. The first night of its revival, however, was a somewhat awkward affair, in which illness regrettably played its part. Lisa Saffer (Lulu) and Susan Parry (Geschwitz) were singing with apologies, after suffering from throat infections. Fine actresses both, they compensated for vocal roughness with performances of uncommon dramatic vividness, though Saffer’s understandable tentativeness inevitably meant that we were faced with a Lulu whose physical glamour was unsupported by equivalent vocal allure. »

20 Apr 2005

Henze's The Bassarids in Paris Without Orchestra

No other city puts on a welcome quite like Paris. When the Olympic committee came to evaluate the city’s bid to host the games, they were greeted by strikes, and last week the Théâtre du Châtelet’s bid for artistic glory met with a similarly thumb-to-the-nose response. »

20 Apr 2005

Gounod's Faust at the Met — A Preview

Tomorrow night, the Metropolitan Opera unveils a new production of Charles Gounod’s “Faust,” its sixth. The musical expectations are high. James Levine, the Met’s music director, is conducting the opera for the first time, leading an international A-list cast: the French-Sicilian tenor Roberto Alagna as Faust, one of his signature roles; the Finnish soprano Soile Isokoski as Marguerite, the innocent he seduces and abandons; the German bass René Pape as Méphistophelès, an eagerly anticipated role debut; and the Russian baritone Dmitri Hvorostovsky as the soldier Valentin, Marguerite’s brother. »

20 Apr 2005

Menotti's The Consul in Arizona

Even though no sensation-hungry opera director has tampered with Gian Carlo Menotti’s The Consul to “update” the work in today’s all-too-common effort to make opera “relevant” to modern audiences, this half-century-old opera has not lost one iota of such relevancy. »

18 Apr 2005

Muti in New York

Riccardo Muti, the Italian conductor, has been much in the news lately, having quit La Scala – that is an interesting story. But that is not today’s story: Mr. Muti was in New York last week, for a subscription series with the Philharmonic. On his program were two seldom-heard works, the first more seldom heard than the second: Goffredo Petrassi’s “Coro di morti” (“Chorus of Dead Ones”) and Liszt’s “Faust Symphony.” Saturday’s was a concert of the highest order. »