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Elsewhere

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .)

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.

Pow! Zap! Zowie! Wowie! -or- Arthur, King of Long Beach

If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.

Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

How do you like your Schubert? Let me count the ways …

Crebassa and Say: Impressionism and Power at Wigmore Hall

On paper this seemed a fascinating recital, but as I was traveling to the Wigmore Hall it occurred to me this might be a clash of two great artists. Both Marianne Crebassa and Fazil Say can be mercurial performers and both can bring such unique creativity to what they do one thought they might simply diverge. In the event, what happened was quite remarkable.

'Songs of Longing and Exile': Stile Antico at LSO St Luke's

Baroque at the Edge describes itself as the ‘no rules’ Baroque festival. It invites ‘leading musicians from all backgrounds to take the music of the Baroque and see where it leads them’.

Richard Jones' La bohème returns to Covent Garden

Richard Jones' production of Puccini's La bohème is back at the Royal Opera House, Covent Garden after its debut in 2017/18. The opening night, 10th January 2020, featured the first of two casts though soprano Sonya Yoncheva, who was due to sing Mimì, had to drop out owing to illness, and was replaced at short notice by Simona Mihai who had sung the role in the original run and is due to sing Musetta later in this run.

Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato

“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.

Vaughan Williams Symphonies 3 & 4 from Hyperion

Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.

Don Giovanni at Lyric Opera of Chicago

Mozart’s Don Giovanni returned to Lyric Opera of Chicago in the Robert Falls updating of the opera to the 1930s. The universality of Mozart’s score proves its adaptability to manifold settings, and this production featured several outstanding, individual performances.

Britten and Dowland: lutes, losses and laments at Wigmore Hall

'Of chord and cassiawood is the lute compounded;/ Within it lie ancient melodies'.

Tara Erraught sings Loewe, Mahler and Hamilton Harty at Wigmore Hall

During those ‘in-between’ days following Christmas and before New Year, the capital’s cultural institutions continue to offer fare both festive and more formal.

Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig

This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.

Retrospect Opera's new recording of Ethel Smyth's Fête Galante

Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.

A compelling new recording of Bruckner's early Requiem

The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.

Prayer of the Heart: Gesualdo Six and the Brodsky Quartet

Robust carol-singing, reindeer-related muzak tinkling through department stores, and light-hearted festive-fare offered by the nation’s choral societies may dominate the musical agenda during the month of December, but at Kings Place on Friday evening Gesualdo Six and the Brodsky Quartet eschewed babes-in-mangers and ding-donging carillons for an altogether more sedate and spiritual ninety minutes of reflection and ‘musical prayer’.

The New Season at the New National Theatre, Tokyo

Professional opera in Japan is roughly a century old. When the Italian director and choreographer Giovanni Vittorio Rosi (1867-1940) mounted a production of Cavalleria Rusticana in Italian in Tokyo in 1917, with Japanese singers, he brought a period of timid experimentation and occasional student performances to an end.

Handel's Messiah at the Royal Albert Hall

For those of us who live in a metropolitan bubble, where performances of Handel's Messiah by small professional ensembles are common, it is easy to forget that for many people, Handel's masterpiece remains a large-scale choral work. My own experiences of Messiah include singing the work in a choir of 150 at the Royal Albert Hall, and the venue's tradition of performing the work annually dates back to the 19th century.

What to Make of Tosca at La Scala

La Scala’s season opened last week with Tosca. This was perhaps the preeminent event in Italian cultural and social life: paparazzi swarmed politicians, industrialists, celebrities and personalities, while almost three million Italians watched a live broadcast on RAI 1. Milan was still buzzing nine days later, when I attended the third performance of the run.

La traviata at Covent Garden: Bassenz’s triumphant Violetta in Eyre’s timeless production

There is a very good reason why Covent Garden has stuck with Richard Eyre’s 25-year old production of La traviata. Like Zeffirelli’s Tosca, it comes across as timeless whilst being precisely of its time; a quarter of a century has hardly faded its allure, nor dented its narrative clarity. All it really needs is a Violetta to sweep us off our feet, and that we got with Hrachuhi Bassenz.


OPERA TODAY ARCHIVES »

Performances

Marjukka Tepponen (Tatyana) and John Moore (Eugene Onegin) [Photo by Sunny Martini]
19 Jan 2020

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .) »

Recently in Performances

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15 Oct 2004

FT Reviews L'Incoronazione di Poppeia

L'Incoronazione di Poppeia, Théâtre des Champs Elysées, Paris By Francis Carlin [Financial Times] Published: October 15 2004 03:00 | Last updated: October 15 2004 03:00 If you liked David McVicar's staging of Agrippina, you may like his new Poppeia. Or... »

14 Oct 2004

A Review of Pelléas et Mélisande at Berlin

Pelléas et Mélisande, Deutsche Oper, Berlin By Shirley Apthorp [Financial Times] Published: October 14 2004 03:00 | Last updated: October 14 2004 03:00 Yniold wants to know why these sheep huddle together and why they are so silent. We know... »

14 Oct 2004

Two Reviews of Rolando Villazón's New York Recital Debut

An Introduction in 5 Languages By ANNE MIDGETTE [New York Times] The powers that be in the opera world are desperate to discover the next hot male phenomenon. On Monday, at the Metropolitan Museum of Art's Temple of Dendur, Rolando... »

12 Oct 2004

FT Reviews Elektra At Frankfurt Opera

Elektra, Frankfurt Opera By Shirley Apthorp Published: October 12 2004 03:00 | Last updated: October 12 2004 03:00 "Everywhere, in all the courts, there are dead bodies, all who are alive are smeared with blood, yet all are smiling," sings... »

11 Oct 2004

FT Reviews La Grande Duchesse de Gérolstein

La Grande Duchesse de Gérolstein, Châtelet, Paris By Francis Carlin Published: October 11 2004 03:00 | Last updated: October 11 2004 03:00 Were the Brits in the audience the only ones to get the allusion? Felicity Lott's Grand Duchess is... »

10 Oct 2004

Cecilia Bartoli at Théâtre des Champs-Élysées, Paris

La réhabilitation pour Salieri Au TCE, Cecilia Bartoli se fait l'éblouissante avocate d'un musicien dont la postérité retiendra avant tout les soupçons d'empoisonnement sur la personne de Mozart : Antonio Salieri. Elle consacre l'intégralité d'un récital à celui que Gluck... »

10 Oct 2004

Le Monde Reviews Messiaen's "Saint François d'Assise"

La mise en apesanteur divine de "Saint François d'Assise", SDF de la foi LE MONDE | 08.10.04 | 15h02 A l'Opéra Bastille, les tableaux franciscains d'Olivier Messiaen par Stanislas Nordey. Avec cette nouvelle production du Saint-François d'Assise de Messiaen -... »

09 Oct 2004

"La Voix Humaine" at Vremena Goda Festival

Voznesenskaya - only too human by Neil McGowan La Voix Humaine (concert performance) Vremena Goda Festival Vremena Goda Orchestra/Bulakhov 29 September 2004 Bringing down the curtain on the Vremena Goda Festival this year was the Festival's first-ever operatic offering -... »

08 Oct 2004

Moscow Times: Entering the Ring

George Loomis reports on Wagner opera, Russian-style. By George Loomis Published: October 8, 2004 Last spring the Metropolitan Opera gave three complete cycles of Richard Wagner's four-opera saga, "Der Ring des Nibelungen" (The Ring of the Nibelung). It was business... »

06 Oct 2004

FT Reviews Tamerlano

Tamerlano, Opéra de Lille By Francis Carlin Published: October 6 2004 03:00 | Last updated: October 6 2004 03:00 There should be a golden rule for producers: don't make life difficult for yourself and the audience. In Lille's magnificently restored... »

30 Sep 2004

Le Figaro on Charpentier Festival

FESTIVAL Marc-Antoine Charpentier à Ambronay Triomphe de la jeunesse Gérard Corneloup [30 septembre 2004] En cette année du bicentenaire de la mort de Marc-Antoine Charpentier, occasion unique de le sortir de l'ombre que lui fait encore Lully, le festival d'Ambronay... »

30 Sep 2004

FROSCH at Innsbruck

Die Frau ohne Schatten, Tiroler Landstheater, Innsbruck By Larry L Lash Published: September 29 2004 03:00 | Last updated: September 29 2004 03:00 It was a strange match: Richard Strauss's hugest, most difficult opera - with one of the largest... »

28 Sep 2004

Die Walküre at the Met

Die Walküre, Metropolitan Opera, New York By Martin Bernheimer Published: September 28 2004 03:00 | Last updated: September 28 2004 03:00 For the past couple of decades at the Metropolitan Opera, Die Walküre was the exclusive property of James Levine,... »

27 Sep 2004

FT Reviews La Rondine

La Rondine, New York City Opera By Martin Bernheimer Published: September 27 2004 03:00 | Last updated: September 27 2004 03:00 La Rondine certainly isn't Puccini's easiest or most successful opera. Completed in 1917, it flutters - sometimes elegantly, sometimes... »

21 Sep 2004

Andrew Patner Reviews Don Giovanni at the Lyric Opera

Don Giovanni, Lyric Opera, Chicago By Andrew Patner Published: September 21 2004 03:00 | Last updated: September 21 2004 03:00 A half century ago, a trio of twentysomething operaphiles offered Chicago what they dubbed a "calling card" production of Mozart's... »

20 Sep 2004

Faust in Hong Kong

Faust, Hong Kong Cultural Centre By Ken Smith Published: September 20 2004 13:25 | Last updated: September 20 2004 13:25 Hong Kong's opera lovers, lacking a full-time opera house and gaining a standing company only in the past year, have... »

17 Sep 2004

FT Reviews The Greek Passion

The Greek Passion, Royal Opera House, London By Andrew Clark Published: September 17 2004 03:00 | Last updated: September 17 2004 03:00 All human life is here: prayer and pageant, self-sacrifice and self-righteousness, humour and hypocrisy, feast and famine. Opera... »

16 Sep 2004

FT Reviews Tobias and the Angel

Tobias and the Angel, English Touring Opera, St John's Church, London By David Murray Published: September 16 2004 03:00 | Last updated: September 16 2004 03:00 The composer Jonathan Dove may have called his Tobias, now touring cathedrals and churches,... »

15 Sep 2004

FT Reviews LA Opera's Ariadne auf Naxos

Ariadne auf Naxos Music Center, Los Angeles By Allan Ulrich Published: September 15 2004 03:00 | Last updated: September 15 2004 03:00 William Friedkin's mounting of the Strauss-von Hoffmannsthal comedy handsomely and wittily confirms the general director Plácido Domingo's belief... »

15 Sep 2004

Le Figaro Reviews Pelléas et Mélisande at Palais Garnier

Debussy tout feu tout glace La critique de Jacques Doucelin [15 septembre 2004] Une salle qui tousse à gorge déployée en été, hors de toute épidémie de grippe, au mieux manque d'attention, au pire s'ennuie. Voilà le résultat du transfert... »

14 Sep 2004

FT: Ariadne auf Naxos, Welsh National Opera, Cardiff

Ariadne auf Naxos, Welsh National Opera, Cardiff By Richard Fairman Published: September 14 2004 03:00 | Last updated: September 14 2004 03:00 The Prologue to Ariadne auf Naxos is all about the backstage shenanigans before a performance - a bit... »

13 Sep 2004

NYT: Anne Midgette Reviews Katya Kabanova

CRITIC'S PICK | ANNE MIDGETTE A Star to Shed Light on Janacek's Bleak Operatic Landscape OPINIONS may differ as to what constitutes a highlight at the Metropolitan Opera these days, but few disagreed last season about Karita Mattila's performance as... »

10 Sep 2004

WSJ: The Comeback Composer

The Comeback Composer Opera World Taps Handel To Woo New Audiences; Cleopatra in Gold Lamé By HEIDI WALESON The last time Michael Goodman had season tickets to the Metropolitan Opera in New York City, Gerald Ford was president and pet... »

10 Sep 2004

FT: Martin Bernheimer reviews Daphne

Daphne New York City Opera By Martin Bernheimer Published: September 10 2004 03:00 | Last updated: September 10 2004 03:00 It took 66 years for Richard Strauss'sDaphne to reach a stage in New York. We must be grateful for belated... »

09 Sep 2004

FT: Orion/Saariaho, Bluebeard/Bártok BBC Proms, Royal Albert Hall, London

By David Murray Published: September 9 2004 05:00 | Last updated: September 9 2004 05:00 Jukka-Pekka Saraste conducted the UK premiere of Kaija Saariaho's grand new Orion followed by Bártok's Duke Bluebeard's Castle. Though the works have nothing in common,... »

08 Sep 2004

Le Figaro: Charpentier en majesté

Charpentier en majesté Jacques Doucelin [08 septembre 2004] Bien avant d'imposer la victoire définitive de la vague baroque avec Atys, de Lully, William Christie s'était attelé à la redécouverte de Marc-Antoine Charpentier, son rival à la cour, dont le public... »

07 Sep 2004

NYT: Enough to Make Handel Reach for His Walkman

Enough to Make Handel Reach for His Walkman By ANTHONY TOMMASINI During the late 1720's Handel had two rival prima donnas in the London opera company he ran: Francesca Cuzzoni and Faustina Bordoni. From all reports both were superb sopranos... »

03 Sep 2004

Opera Japonica: Maria Nockin's Letter from America

Summer in Santa Fe The most difficult tickets to obtain at Santa Fe this summer were for Vincenzo Bellini's seldom performed opera, La sonnambula. It was a great pleasure to hear the sumptuous long melodies of this lyrical work, which... »

23 Aug 2004

The Scotsman: When modern dance meets the Underworld

When modern dance meets the Underworld KELLY APTER Orfeo ed Euridice by Opera North and Emio Greco WHEN International Festival director Brian McMaster invited Italian dancer Emio Greco to Edinburgh in 2000, he was squeezed into a late-night, post-opera slot... »