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Elsewhere

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Bampton Classical Opera 2020: Gluck's The Crown at St John's Smith Square

Bampton Classical Opera returns to the Baroque splendour of London’s St John’s Smith Square on November 6 with a concert performance of Gluck’s one-act opera The Crown, the first in the UK since 1987. The performance will also be filmed and available to watch on demand on the Bampton website from 9 November.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

A new opera written during lockdown with three different endings to choose from to premiere this October as part of Wexford Festival Opera

While many of us spent lockdown at home taking it a little easier, composer Andrew Synnott wrote an opera.

Grange Park Opera presents Britten’s Owen Wingrave, filmed on location in haunted houses in Surrey and London

Owen Wingrave is part of the new Interim Season of 19 brand new events, all free to view online between September and December 2020.

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Music and Theatre For All launches three major new projects supported by The Arts Council

The Arts Council has awarded innovative UK charity Music and Theatre For All (MTFA) a major new grant to develop three ambitious new projects in the wake of Covid 19.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

English National Opera to reopen the London Coliseum with performances of Mozart’s Requiem

English National Opera (ENO) will reopen the London Coliseum to socially distanced audiences on 6 and 7 November for special performances of Mozart’s Requiem. These will provide audiences with an opportunity to reflect upon and to commemorate the difficulties the nation has faced during the pandemic.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

The Royal Opera House launches autumn digital programme with a new series of Friday Premieres and screenings on Sky Arts

The Royal Opera House is proud to continue its curated #OurHouseToYourHouse programme into the autumn, bringing audiences the best of the ROH through a new series of Friday Premieres and cultural highlights.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Take a Bow: Royal Opera House opens its doors for the first time in six months as part of Open House London

After six months of closure, the Royal Opera House is thrilled to be opening its doors to the public as part of Open House London weekend, giving visitors a taste of one of the world’s most famous theatres for free.

Academy of St Martin in the Fields presents re:connect - a series of autumn concerts at St. Martin-in-the-Fields

The Academy of St Martin in the Fields is thrilled to announce re:connect - an eight concert series with live socially distanced audiences at its namesake church, St. Martin-in-the-Fields. The autumn concerts will take place at 5pm & 7:30pm on two Saturdays per month with guest artists including baritone Roderick Williams, soprano Carolyn Sampson and composer-conductor-pianist Ryan Wigglesworth performing a wide range of repertoire.

Connections Across Time: The Oxford Lieder Festival, 10-17 October 2020

Music and poetry unite and collide across centuries, from the Medieval to the Enlightenment to the present day. This year, the Oxford Lieder Festival will present a thrilling and innovative programme comprising more than forty events streamed over eight days.


OPERA TODAY ARCHIVES »

Performances

21 Sep 2020

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’. »

Recently in Performances

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22 Feb 2005

Prokofiev's Love for Three Oranges in Linz

Es ist eine der kürzesten Sterbesze nen der Operngeschichte: Ein schnoddrig verkündetes Todesur teil, jemand wuselt mit einem Strick herum, dann ist die intrigante Königs-Nichte auch schon tot. In Prokofieffs Märchen-Oper “Die Liebe zu den drei Orangen” wird schnell gestorben: Auch die den ersten beiden Zitrus-Früchten entsprungenen Prinzessinnen verdursten rasch, wenn auch klagend – eines der Details, mit denen sich der Komponist/Librettist Prokofieff vom Verismo abgrenzt. Keine naturalistische Darstellung, keine opulent auskomponierten Szenen voller Gefühlsüberschwang; statt dessen: Märchen und absurdes Theater, kurze Sequenzen, die einander fast überholen. »

22 Feb 2005

Massenet's Werther at the Wiener Staatsoper

Zuweilen begnügt man sich auch mit Details. Wenn das Ganze so gar nicht stimmen mag, gelingt es viel leicht dem einen oder anderen der beteiligten Künstler sozusagen gegen den Strom schwimmend, eine herausragende Leistung zu modellieren. Im Falle der “Werther”-Premiere darf Elina Garanca das künstlerische Freischärlertum für sich in Anspruch nehmen. Sie sollte die Charlotte singen, wurde von Regisseur Andrei Serban jedoch gezwungen, eine Art Grace-Kelly-Parodie abzuliefern, denn das Stück spielt von Inszenierungs-Gnaden in den fünfziger Jahren des 20. Jahrhunderts. »

22 Feb 2005

Anne Sofie von Otter at Göteborg

Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire — what if I didn’t like them in concert? The concert hall was full — 1200 seats, imagine that for a recital… I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience. »

21 Feb 2005

Michael Bohnen: At the Metropolitan Opera, New York

The title of this most worthwhile CD is, I’m afraid, somewhat misleading. The charismatic German bass-baritone, Michael Bohnen, sang at the Metropolitan Opera from 1923-1932. One might expect this CD to only document roles that Bohnen sang there, if not provide transcriptions of actual Met performances. In fact, the disc includes excerpts from several roles that Bohnen never sang at the Met. Of the twenty tracks on this CD, twelve, by my count, are souvenirs of Bohnen Met roles (Tonio, Rocco, Caspar, Mephistopheles, Wotan, Wolfram, Sachs, and Francesco in Schilling’s Mona Lisa). »

21 Feb 2005

Wozzeck at WNO

FIRST nights of Alban Berg’s Wozzeck are not traditionally sellouts, but then this was anything but a traditional first night. As the main event of Welsh National Opera’s inaugural weekend in its new home, the Wales Millennium Centre at Cardiff Bay, Saturday night’s performance sent out a volley of positive signals that will stand the company in good stead as it builds new audiences. There are more seats to fill than in WNO’s old house, but a strong forthcoming season combined with adventurous pricing policy should prolong the buzz. »

21 Feb 2005

Adams' The Death of Klinghoffer in Philadelphia

Time stands quite still in John Adams’ opera The Death of Klinghoffer. The pulsing orchestra, the explanatory choruses, the shifting viewpoints, and, above all, the tacit understanding that the events of 20 years ago are being replicated now with no measurable change give the work the feeling of complete stasis. »

21 Feb 2005

WNO Triumphs With La Traviata

Welsh National Opera’s first performance in its new home could so easily have been a disaster. But nowhere was the return of its former musical director Carlo Rizzi more crucial than in this revival, as he transformed the shoddy Traviata of last May into an emphatic restatement of the musical values that have traditionally been at the core of the WNO. Rizzi conducted with authority and passion, and with such care for his singers that where terminal decline had beckoned, he seemed to have effected a miracle cure. »

21 Feb 2005

Handel's Semele at Scottish Opera

A tale of everyday mortals and gods entranced a nearly full house at beleaguered Scottish Opera last night with the same clever mix of pathos, wit, drama and humour that has kept nations’ favourite soaps at the top of the viewing and listening schedules for decades. And it was the visual elements as much as the vocal and musical that clinched the success of this premiere performance last night. Director John la Bouchardiere (of “The Full Monteverdi” fame) worked with a light touch that engagingly mixed some pretty unusual elements into a confection that finally had the audience calling its approval. Likewise, young Christian Curnyn on the podium brought his Early Opera Company experience and love of truly modern stagings of Handel to bear, and managed to persuade the SCO orchestra to eschew both vibrato and swooping lines without adding any extra period instrumentalists, save a harpsichord. Apart from a slightly unconvincing first 10 minutes (of more later) they played with increasing verve and apparent conviction throughout. »

21 Feb 2005

Daniel Catán's Florencia en el Amazonas

If you had to name an opera you thought Seattle music lovers were dying to see and hear, what would be your guess? “Carmen”? “Madame Butterfly”? Maybe the ever-beloved story of ill-fated young lovers, “La Boheme”? »

19 Feb 2005

Verdi's Otello at Opéra-Bastille

Ce ne sont pas des notes qui jaillissent de la baguette de Valery Gergiev, c’est un foudroiement : une tempête d’air, d’eau, de feu qui déchire l’espace et fige d’horreur le chœur des Chypriotes massés au port pour le retour vainqueur d’Otello. Une puissance dévastatrice, métaphysique. »

19 Feb 2005

Renée Fleming in Boston

Renée Fleming sang the Boston leg of her current recital tour last night at Symphony Hall accompanied by the distinguished German pianist Hartmut Höll. Not only was Ms Fleming in free, shimmering and beautifully controlled voice, but last night’s program of Purcell, Handel, Berg and Schumann was some of her most disciplined work in a very long time. »

17 Feb 2005

Nabucco at the Met — Another View

NABUCCO. Music by Giuseppe Verdi, libretto by Temistocle Solera. Metropolitan Opera, James Levine conducting. Through March 8 at Lincoln Center. Call 212-362-6000 or visit www.metopera.org. Biography can be a distorting lens through which to view art. A case in point is Verdi’s “Nabucco” (1842), his first great success, which followed the deaths of his children and wife between 1838 and 1840 and the humiliating failure of his second opera. »

17 Feb 2005

Cosi fan tutte at San Diego

For San Diego Opera conductor Karen Keltner, returning to the score of Mozart’s opera “Cosi fan tutte” is like slipping on a pair of well-worn leather gloves. The music fits snugly with the vocal parts, and the luxurious feel of the piece improves with each wearing. »

17 Feb 2005

Semele in Scotland — Another View

In Scottish Opera’s early days, Handel was not a high priority. Debussy, Verdi, Mozart and Mussorgsky were the composers with whom the company made its name. As a Handel conductor, Alexander Gibson – like Pierre Boulez – went no further than the Water Music. In his role as administrator, Peter Hemmings was forthright and forbidding. Handel’s operas, he declared, were the kiss of death. »

16 Feb 2005

Tristan und Isolde at Geneva — Other Views

Faced with Wagner’s marathon symphonic poem with voices, it is easy to see why producers are panicked into hyperactivity. Olivier Py’s new staging does just that. Wagner whittled down the characters to the bare minimum, to present an unadulterated account of doomed passion. Py, a promising, provocative talent in France but on this evidence short on maturity and focus, elects to flood the stage, literally in act three, with supernumeraries and hackneyed symbolism that feeds on Shakespeare and Arthurian legend. »

16 Feb 2005

Verdi's Nabucco at the Met

There is an honesty to Elijah Moshinsky’s four-year-old production of Verdi’s “Nabucco,” which returned to the Metropolitan Opera on Monday night. No excuses are made for the opera’s creaky theatrical state, no attempts to bring up-to-date relevance to what became a symbol of revolution and national unity for Italians 160 years ago. »

16 Feb 2005

Die Zauberflöte at ROH

AN ODD thing about David McVicar’s productions is the way they improve with time. When this show first appeared it was too po-faced by half, full of regard for the pomposities of the piece but hardly at ease with its lightness, enchantment and childish simplicity. »

16 Feb 2005

Julius Caesar in Hamburg

Hamburg – These. Antithese. Synthese. So einfach ist das manchmal. Anstatt ein sehr abstraktes, gern auch sehr allegorisches Genre wie die Barock-Oper in ein um Wirklichkeit bemühtes Regie-Korsett zwingen zu wollen, das ihren schillernden Typen das Entrückte, Allgemeingültige nehmen würde, geht Karoline Gruber bei “Giulio Cesare in Egitto” einen ganz eigenen, ganz cleveren Regie-Weg: Zuerst wird auf Pointe komm raus gealbert und überdreht. Dann auf Gedeih und Verderb geliebt. Im dritten Akt ohne Wenn und Aber geläutert. Die Katharsis kommt spät, aber gewaltig. »

15 Feb 2005

Gounod's Faust in Cleveland

“Making a pact with the devil’’ is one of those expressions that have gotten diluted with overuse. Nobody really means it when they say it, unless maybe they happen to be talking about Charles Gounod’s opera Faust, where the music is as transcendently lovely as the story line is dark. »

15 Feb 2005

Semele in Scotland

WHY IS IT we feel so comfortable with the Handel who wrote such pot-boilers as the Hallelujah Chorus, Arrival of the Queen of Sheba, Music for the Royal Fireworks or Water Music, yet dread the thought of sitting through one of his many operas? »

15 Feb 2005

La Traviata As Ballet Stumbles

This is the way the art of ballet will end, with a sentimental whimper, an easy tear in its eye, and not a squeak of true life as theatrical dance. If the novelisation of successful movies is thought a pretty bogus form of literature, how much worse is a balletisation of an opera masterpiece such as Verdi’s La traviata. »

15 Feb 2005

Opera Colorado Presents Julius Caesar

Odd that Opera Colorado would encourage ticket-buyers for its production of Julius Caesar to “Bring your Valentine . . . and witness a love so great it changed the course of history.” This, be advised, is not your typical love story, nor is it a date opera. Just as the production that opened Saturday at the Buell Theatre is hardly your basic, by-the-book staging. For starters, Handel’s legendary leading lovers, Caesar and Cleopatra, are both sung by women. And, yes, they do smooch – sort of. »

15 Feb 2005

José van Dam in New York

Recitals should be about something, I always say. So I should have been delighted that “dans ce vague d’un Dimanche,” on a dreamy Sunday (a line from Debussy’s song “L’échelonnement des haies”) at Alice Tully Hall, José van Dam, the excellent Belgian bass-baritone, perfectly suited his delivery to words like “parcourent en rêvant les coteaux enchantées/ où, jadis, sourit ma jeunesse” (“wandering dreamily across the enchanted slopes where, once, my youth smiled”), a line from Fauré’s “Automne.” »

15 Feb 2005

Bernstein's Candide in London

Leonard Bernstein’s Candide may only have been written 50 years ago, but it presents as many problems of texts and editions as any baroque opera that mouldered in an ecclesiastical library for three or four centuries. The idea of turning Voltaire’s scabrously satirical novella into an operetta was originally Lillian Hellman’s, but five other writers eventually contributed to the piece, while for the rest of his life Bernstein carried on worrying away at it too. »