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Elsewhere

Beethoven's Songs and Folksongs: Bostridge and Pappano

A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.

Snape Maltings Concert Hall to reopen for live performances with audience from 7 August

Britten Pears Arts is thrilled to announce that it will host live music-making again in Snape Maltings Concert Hall from Friday 7 August, becoming one of the first venues in the UK to return to regular concerts for a live audience.

The Grange Festival presents Precipice, an outdoor promenade performance

On 21, 22 and 23 August 2020, The Grange Festival will present Precipice, an outdoor immersive promenade performance using the many varied natural stages offered by the buildings and gardens at The Grange in Hampshire. Created by the critically-acclaimed director SinĂ©ad O’Neill and designed by Joanna Parker, the performance will last one hour and a small audience of up to 60 people will be guided through the sequence of events with spoken text by the actor, writer and director Tonderai Monyevu. There will be four performances each day.

Opera Holland Park returns for a series of outdoor performances this summer

Opera Holland Park (OHP) will present a series of outdoor performances this summer in the space where the theatre normally stands. The company held its first concert since lockdown this weekend. The performance sold out in less than 90...

Fidelio: semi-staged live performance at Garsington

Garsington Opera will be giving semi-staged performances of Beethoven’s Fidelio in the Opera Pavilion at Wormsley on 12, 14, 18 & 20 September 2020.

First-ever global online vocal festival anounced: singing returns

Live from London is a new, paid-for online festival from the VOCES8 Foundation, featuring some of the world's finest vocal ensembles including VOCES8, I Fagiolini, Stile Antico, The Swingles, The Sixteen, Chanticleer and more.

Salzburg Elektra premiere to be streamed

Stage director Krzysztof Warlikowski offers a happy ending, he hints, to Richard Strauss’ monumental tragedy Elektra at the Salzburg Festival, streamed live at its premiere on August 1 from the Felsenreitscchule at 5 PM Central European Time.

Classical Opera and The Mozartists launch their ‘Pay it Forward’ Appeal

As their concerts have been cancelled for the rest of the year, Classical Opera and The Mozartists have launched an innovative appeal to generate funds for their freelance artists, who have been severely affected and are unlikely to receive any share of the government’s pledged funding for the arts.

A virtual ‘Der Lindenbaum’: Streetwise Opera bring the 2020 Ryedale Festival Online to a restful close

Streetwise Opera were joined by baritone Roderick Williams, the Brodsky Quartet and Genesis Sixteen for a special ‘virtual’ performance of Schubert’s ‘Der Lindenbaum’, the fifth song of the composer’s song-cycle Winterreise, bringing this year’s Ryedale Festival Online to a pensive close.

Two more new titles announced for Glyndebourne Open House

Glyndebourne has announced the next two opera titles in its virtual festival, Glyndebourne Open House - Verdi’s Falstaff and Stravinsky’s The Rake’s Progress (pictured).

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

The Two Summer Festivals That Can

Against all odds the festivals of Salzburg and Rossini’s Pesaro are forging ahead this summer with real, live opera, though the limited programs and scarcity of tickets may discourage us from journeying to Austria or Italy in August. Would that we could!

Flax and Fire: a terrific debut recital-disc from tenor Stuart Jackson

One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.

English National Opera announces new Harewood Artists for Summer 2020

English National Opera (ENO) today announces that three new singers will be joining the Harewood Artists programme this summer.

"Opportunity will come from crisis": Polly Graham, Artistic Director of Longborough Opera, in conversation

It’s ingrained in theatre-makers: “Make a show.” As she prepares to announce some new events and performances that will take place in forthcoming weeks, as well as Longborough Festival Opera’s 2021 productions, Artistic Director Polly Graham reflects on the very difficult decision to cancel the 2020 Longborough Festival which she was forced to take.

The ReGeneration Festival 2020

Grand open-air celebrations in the Boboli Gardens of Florence's Palazzo Pitti for this year's transformed New Generation Festival

A family-friendly Friday Premiere - ROH and the Roundhouse presents ZooNation's The Mad Hatter's Tea Party

The Royal Opera House is proud to continue its #OurHouseToYourHouse programme throughout the summer, announcing the Friday Premiere screening of ZooNation’s The Mad Hatter's Tea Party on Friday 31 July at 7pm BST.

Verdi’s Falstaff and Stravinsky’s The Rake’s Progress - new titles announced for Glyndebourne Open House

Glyndebourne has announced the next two opera titles in its virtual festival, Glyndebourne Open House - Verdi’s Falstaff and Stravinsky’s The Rake’s Progress (pictured above).

A Feast in the Time of Plague: Britain's first new opera commission since lockdown, at Grange Park Opera

A brand-new opera - A Feast in the Time of Plague - will be performed by Grange Park Opera, live on the stage of the Theatre in the Woods on Sunday 13 September 2020 in front of an invited audience of 250 people.

Carlisle Floyd's Prince of Players: a world premiere recording

“It’s forbidden, and where’s the art in that?”


OPERA TODAY ARCHIVES »

Performances

26 Jul 2020

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.” »

Recently in Performances

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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. »

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. »