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Elsewhere

L’equivoco stravagante in Pesaro

L’equivoco stravagante (The Bizarre Misunderstanding), the 18 year-old Gioachino Rossini's first opera buffa, is indeed bizarre. Its heroine Ernestina is obsessed by literature and philosophy and the grandiose language of opera seria.

BBC Prom 44: Rattle conjures a blistering Belshazzar’s Feast

This was a notable occasion for offering three colossal scores whose execution filled the Albert Hall’s stage with over 150 members of the London Symphony Orchestra and 300 singers drawn from the Barcelona-based Orfeó Català and Orfeó Català Youth Choir, along with the London Symphony Chorus.

Prom 45: Mississippi Goddam - A Homage to Nina Simone

Nina Simone was one of the towering figures of twentieth-century music. But she was much more than this; many of her songs came to be a clarion call for disenfranchised and discriminated against Americans. When black Americans felt they didn’t have a voice, Nina Simone gave them one.

Sincerity, sentimentality and sorrow from Ian Bostridge and Julius Drake at Snape Maltings

‘Abwärts rinnen die Ströme ins Meer.’ Down flow the rivers, down into the sea. These are the ‘sadly-resigned words in the consciousness of his declining years’ that, as reported by The Athenaeum in February 1866 upon the death of Friedrich Rückert, the poet had written ‘some time ago, in the album of a friend of ours, then visiting him at his rural retreat near Neuses’. Such melancholy foreboding - simultaneously sincere and sentimental - infused this recital at Snape Maltings by Ian Bostridge and Julius Drake.

Glimmerglass’ Showboat Sails to Glory

For the annual production of a classic American musical that has become part of Glimmerglass Festival’s mission, the company mounted a wholly winning version of Jerome Kern and Oscar Hammerstein II’s immortal Showboat.

Proms at ... Cadogan Hall 5: Louise Alder and Gary Matthewman

“On the wings of song, I’ll bear you away …” So sings the poet-speaker in Mendelssohn’s 1835 setting of Heine’s ‘Auf Flügeln des Gesanges’. And, borne aloft we were during this lunchtime Prom by Louise Alder and Gary Matthewman which soared progressively higher as the performers took us on a journey through a spectrum of lieder from the first half of the nineteenth century.

Glowing Verdi at Glimmerglass

From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

Odyssey Opera Resurrects Henry VIII

BOSTON, MA (For Release 07.18.19) — One of the nation’s most adventurous opera companies, Odyssey Opera, begins its seventh season with a concert performance of Henry VIII (1883) by French composer Camille Saint-Saëns based on El cisma en Inglaterra (The schism in England) by Pedro Calderón de la Barca.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.


OPERA TODAY ARCHIVES »

Performances

23 Aug 2019

L’equivoco stravagante in Pesaro

L’equivoco stravagante (The Bizarre Misunderstanding), the 18 year-old Gioachino Rossini's first opera buffa, is indeed bizarre. Its heroine Ernestina is obsessed by literature and philosophy and the grandiose language of opera seria.  »

Recently in Performances

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21 Jan 2005

It's Shag-A-Delic, Baby!

Perhaps the Tippett centenary has come too soon, and the seven years since the composer’s death have been insufficient for his achievement to be digested and for the anniversary celebrations to take on any real significance. But no matter how much time had passed, I doubt that his third opera, The Knot Garden, will ever seem more than a period piece, wedded to the late 1960s when it was written. »

21 Jan 2005

Generallissimo Francisco Franco is still dead

After some wild recent productions it comes as a surprise to find a Don Giovanni set in Spain, as Mozart intended. How many directors care to remember that Don Giovanni’s tally of women there numbered 1,003, as Leporello’s catalogue reminds us every time we see the opera? Having decided on a Spanish setting, Opera North’s new production tries to make the most of it. Photos of bullfights are flashed across a screen to draw a glib parallel with Don Giovanni the predatory sexual toreador. The cast gird their loins for some rather dubious Spanish dances. And — most important — the time is updated to the Spanish Civil War, bringing the class antagonism of the opera into modern focus. »

20 Jan 2005

Karita Mattila — A Stunning Leonore

'Fidelio' returns Lyric, cast rise above flawed Beethoven opera By John von Rhein Tribune music critic January 19 2005, 1:00 AM CST "Fidelio" has been missing in action at Lyric Opera for nearly 24 years, much too long for... »

20 Jan 2005

Live from New York — Death and Transfiguration

The level of Luciano Berio’s music was still on the ascent when he died two years ago at 77. “Stanze” – five poems for solo voice, chorus and orchestra – were his last pieces, and they shine with poise and quiet confidence. We are reminded that the possibilities of instrumental combinations are far from exhausted. The Philadelphia Orchestra under Christoph Eschenbach introduced New York to “Stanze” at Carnegie Hall on Tuesday night, adding Act III from Wagner’s “Parsifal” in concert form. Paul Celan’s “Tenebrae,” the first poem, is accompanied by drifting, attenuated chords of extraordinary beauty. If Berio’s music moves slowly, or sometimes not at all, there is activity within: textures swelling and contracting like lungs, woodwind colors swimming and undulating. So striking are the sounds that high drama is unnecessary. »

20 Jan 2005

Renée Takes Seattle

Renée Fleming came and conquered the full house Tuesday night at Benaroya Hall. Now 45, the soprano is in her prime, not only with that voluptuous voice but her musical acuity and dramatic instincts. When singers become as famous as Fleming, connoisseurs find something to criticize, often justified: a mannered style or lackluster ambition in terms of repertory, for instance. When the voice is as gorgeous and gleaming as Fleming’s, there is always the danger the singer will be content to deliver a pretty sound and little else. »

20 Jan 2005

Pelléas et Mélisande in New York

NEW YORK Sigmund Freud’s seminal “Interpretation of Dreams” was published in 1900. But Claude Debussy had already poked around in the unconscious in his landmark opera “Pelléas et Mélisande,” which he had essentially composed (though not orchestrated) by 1895. Of course, Maurice Maeterlinck, whose play Debussy adapted into his opera, had been treading through Freudian terrain even earlier. Maeterlinck, a leading figure in the Symbolist movement, which arose in the 1880s, espoused veiled emotions, mystery and indirection over realism. »

20 Jan 2005

The Russians Bomb at Kennedy Center

What were they thinking? The “Kirov Spectacular” — which opened last night at the Kennedy Center Opera House — proved the sort of celestial vaudeville that should have . . . well, gone out with vaudeville. It seemed a generous program — some three hours of selections from ballets and operas performed by the Kirov Ballet, Opera and Orchestra of the Mariinsky Theatre, under the direction of Valery Gergiev. But the pieces had little to do with one another (indeed, they could almost have been chosen by lottery) and the musical performances were too often shopworn and lackluster — a scanty reward for those who managed to find their way to the Kennedy Center through the cold, clotted streets of pre-inauguration Washington. »

19 Jan 2005

Manon Lescaut at Seattle — Two Reviews

Puccini’s “Manon Lescaut,” which Seattle Opera has produced only sporadically in its 40-year history, is a work that goes in fits and starts. Moments of genuine inspiration and compelling drama mark the composer as a man of genius, but in this early opera, his talent is not always consistent. The demands on the tenor are notoriously difficult. So, with its eyes wide open, the company mounted the third production in its history to bring in the new year Saturday night at McCaw Hall. It succeeded more than many efforts without breaking the bank, using conventional but serviceable sets and costumes from Montreal Opera. »

18 Jan 2005

Enescu's Oedipe at Cagliari

Il Teatro Lirico di Cagliari pur attraversando, come risaputo, un periodo difficile sotto il profilo strettamente finanziario da cui – con lo sforzo e l’impegno di tutte le maestranze e, soprattutto, di tutte le istituzioni pubbliche e private alle quali dovrebbero stare più a cuore le sorti e il bene della cultura musicale regionale e nazionale -, ci auspichiamo riesca anche con sacrifici ad uscire, ha inaugurato la stagione lirica e di balletto 2005 con “Oedipe”, tragedia lirica in 4 atti del rumeno George Enescu, su libretto di Edmond Fleg, in una nuova produzione dello stesso Teatro Lirico, in prima esecuzione assoluta in Italia e in versione originale francese. I responsabili del Teatro hanno così voluto perseverare nel percorso iniziato con successo di pubblico e di critica nel 1998 con “le Fate” di Wagner, proseguito nel 1999 con “Dalibor” di Smetana, nel 2000 con “Gli stivaletti” di Cajkovskij, nel 2001 con “Elena egizia” di Strauss, nel 2002 con “Euryanthe” di Weber, nel 2003 con “Opricnik” di Cajkovskij e “Alfonso und Estrella” di Schubert, nel 2004. »

17 Jan 2005

The Tsar's Bride at the Mariinsky

Anna Netrebko stars as the passionate and poisoned Marfa in the Mariinsky Theater’s new production of “The Tsar’s Bride. The Mariinsky Theater’s famous blue curtain rises and Grigory Gryaznoi, the mighty commander of Ivan the Terrible’s feared bodyguards, the oprichniki, bemoans his unrequited love for young beauty Marfa Sobakina. Gryaznoi sits on a shabby bench in a place resembling one of the so-called Culture and Leisure parks that were a typical feature of the Soviet era. A seashell-shaped summer theater with quiet alleys and a ferris-wheel in the background is the setting for a new production of Nikolai Rimsky-Korsakov’s 1899 opera “The Tsar’s Bride,” which premiered on Dec. 29 at the Mariinsky Theater. »

17 Jan 2005

Les Pêcheurs de perles at Metz

Dans le cadre de la programmation de l’Orchestre national de Lorraine, nous avons le plaisir d’assister à une représentation de concert des Pêcheurs de perles, ouvrage d’un charme indéniable quoique légèrement suranné d’un compositeur de vingt-cinq ans, encore tributaire de certaines influences (mais certainement pas de l’influence wagnérienne dénoncée par certains critiques à la création !), en bénéficiant de l’acoustique exemplaire de la grande salle de l’Arsenal. Le concert permet d’oublier l’indigence d’un livret dont les auteurs (Michel Carré et Eugène Cormon) avaient été les premiers à regretter les faiblesses, pour se concentrer sur les qualités de la partition. En effet, si Bizet apparaissait encore prisonnier des conventions de son époque et laissait peu deviner du génie dramatique qui s’exprime dans Carmen, ses Pêcheurs de perles ne manquaient pas d’atouts, et Berlioz, critique aussi lucide qu’exigeant, prit d’ailleurs la plume pour défendre un ouvrage recelant selon lui “un nombre considérable de beaux morceaux expressifs pleins de feu et d’un riche coloris”. A l’aune du chef-d’oeuvre à venir, cela peut sembler peu, c’est certain ; pour autant, la partition ne mérite probablement pas le dédain qui lui est ordinairement réservé par une certaine élite intellectuelle autoproclamée dont le sectarisme continue à faire beaucoup de tort à l’art lyrique. Les Pêcheurs de perles ne sont certes pas visités par le génie, mais ils témoignent d’un métier très sûr au regard de la jeunesse d’un compositeur déjà habile à trousser la mélodie et à colorer l’orchestre pour composer un orientalisme sans doute désuet mais tout à fait séduisant. »

17 Jan 2005

Britten's Billy Budd in Munich

Gut ein halbes Jahrhundert hat es gedauert, bis “Billy Budd”, Benjamin Brittens 1951 uraufgeführtes Meisterwerk, an der Bayerischen Staatsoper angekommen ist. Ein hochtheatrales Stück zwischen Seemannsgarn und Homoerotik, zwischen Kriegs- und Menschenrecht, zwischen verborgener (Zu-)Neigung und Pflichterfüllung. Ein Stück also, das “funktioniert” und berührt, wie der enthusiastische Premierenbeifall zeigte. Kein Buh, nicht einmal für Regisseur Peter Mussbach, dafür Bravi schon vor Beginn, als Kent Nagano, GMD ab 2006, den Graben enterte. »

17 Jan 2005

Don Giovanni at Vienna

Auf dem Programmzettel liest man: 136. Aufführung in dieser Inszenie rung. Tatsächlich: Wenn der Vor hang sich hebt, erblickt der Staatsopernbesucher die altvertrauten Kulissen der einst von Franco Zeffirelli betreuten “Don Giovanni”-Produktion. Sie ist über 30 Jahre alt und ersetzt aus unerfindlichen Gründen schon wieder die erst vor zwei Jahren aus dem Theater an der Wien ins große Haus übersiedelte, jüngere Inszenierung. »

17 Jan 2005

Death of Columbus at Pittsburgh

When is an opera not an opera? The world premiere of Leonardo Balada’s “Death of Columbus”—performed in concert form Friday evening in Carnegie Music Hall—raises the question. It’s not just the lack of scenery, costumes and staging for this occasion, but the nature of the work itself. There was a feeling that scenery, costumes and staging might not have made much difference. »

15 Jan 2005

Parsifal at Wiener Staatsoper

VIENNA, Jan. 14 – Sir Simon Rattle, arguably the leading conductor in the world, had never conducted at the Vienna State Opera until Wednesday night, when he made his debut with a bang, and with Wagner’s five-hour “Parsifal.” “Parsifal” is commonly labeled Wagner’s Christian opera. At the very least it is a tale about redemption, and many conductors limn it in hovering clouds of mysticism. »

11 Jan 2005

Cosí fan tutte at Arizona Opera

Cosí fan tutte’s story is simple, its music transparent and its theme heartfelt and genuine: It’s “reality opera” in a far deeper sense of “real” than any bare-facts TV show. Mozart’s 1790 opera about the maturation of romantic love requires a no-fuss production that gets at the heart of the story, and a cast that sings well without getting in the way of the characters. It needs exactly what Arizona Opera has given it in the Cosí that opened over the weekend at Orpheum Theatre. »

08 Jan 2005

Verlaine and Rimbaud in Boston

'Verlaine and Rimbaud' has the poetry but not the passion By Richard Dyer, Globe Staff | January 8, 2005 Intermezzo: The New England Chamber Opera Series adventurously alternates standard 20th-century chamber operas with new works. The company opened its third... »

05 Jan 2005

Turandot at the Met

Turandot, Metropolitan Opera, New York By Martin Bernheimer Published: January 5 2005 02:00 | Last updated: January 5 2005 02:00 Turandot remains a prime tourist attraction at the Met, lock, stock and chinoiserie. Even after 17 years, gasping crowds muster... »

02 Jan 2005

Trois Valses at Théâtre Royal de Liège

Wow ! Les Trois Valses comme il faut in Liège Laurence Janot (Fanny Grandpré) and Jean-Baptiste Marcenac (Octave de Chalencey) For the year's end the Walloon Opera always offers some lighter fare. A few years ago we saw a very... »

02 Jan 2005

Britten's A Midsummer Night's Dream at De Munt, Brussels

© Johan Jacobs De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an... »