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Elsewhere

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick about her Institute for Young Dramatic Voices

"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?


OPERA TODAY ARCHIVES »

Recordings

Orfeo ed Euridice (Arthaus Musik 108103)
25 Aug 2014

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.  »

Recently in Recordings

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17 Nov 2005

Soprano Songs and Arias

For those who frequent the Santa Fe Opera and Houston Grand Opera, Ana María Martínez is well-known as a superb lyric soprano on her way to a stellar career. With the release of this collection of songs and arias for soprano, the rest of the world will come to know this as well. »

16 Nov 2005

Decca Classic Recitals

The first thought one has is « how nice to have those recitals back like they were issued ». One remembers too well the first days of the CD when historical vocal recitals appeared more or less mutilated, often culled from two or more LP’s so that some tracks were sorely missed. »

15 Nov 2005

STRAUSS: Lieder

The Lieder of Richard Strauss lend themselves well to various interpretations that bring out different aspects of the music. »

13 Nov 2005

STRAVINSKY : The Rake’s Progress

This production, from Glyndebourne in 1975, is a treasure of literate, artistically informed stagecraft. Opera is meant to be seen as much as heard, and productions like this prove that good staging brings a score alive. »

13 Nov 2005

VERDI: Stiffelio

This is the third re-issue (in Europe anyway) on CD of the only existing studio recording of Stiffelio. Luckily it is a rather good one as its live competitors are not recordings for eternity. Neither Limarilli in 1968 nor Del Monaco (at his coarsest in 1972) have much sense of style, let alone a knack for true Verdi-phrasing. Not that José Carreras is flawless. »

09 Nov 2005

TCHAIKOVSKY: Sleeping Beauty

Tchaikovsky counted Sleeping Beauty as one of his best works. The idea came from Ivan Vsevolozhsky (1835-1909), director of the Russian Imperial Theatres from 1881 onward. He had staged several of Tchaikovsky’s operas, and he wanted Tchaikovsky to produce a ballet score with him. »

09 Nov 2005

STRAUSS: Daphne

The formidable Straussian Sir Georg Solti wrote that after the 1929 death of Strauss’s long-time librettist Hugo von Hofmannsthal, “Strauss lived for another twenty years, but he never again wrote a great work.” »

09 Nov 2005

KHACHATURIAN: Spartacus

Khachaturian was one of the few Soviet composers of the Stalin regime to overcome his public demotion in 1948. Even though he was removed from his job and his works disappeared from the theatres, Khachaturian moved to the world of film music and waited for the storm to blow over. »

08 Nov 2005

Hear My Prayer

This anthology, a twentieth-anniversary commemoration of Aled Jones’ first recording for the Welsh company, Sain, is a re-issue of that 1983 recording, “Diolch â Chân,” along with several other tracks from the mid-1980’s. Jones stepped out of the choir stalls at Bangor Cathedral to become a highly marketed treble, and his relative celebrity, as attested here, was well deserved. »

06 Nov 2005

RIGHINI: Il Convitato di Pietra (The Stone Guest)

Born in Bologna on January 22, 1756, Righini’s musical career started early when he was a choirboy at San Petronio. When he was nineteen, Righini made his professional singing debut as a tenor in Parma, and one year later he joined the Bustelli Opera in Prague. »

02 Nov 2005

ROSSINI: Der Barbier von Sevilla (Barbiere di Siviglia)

Rossini’s masterpiece is based on Beaumarchais’ first of three plays—Le Barbier de Séville, La folle journée ou Le Mariage de Figaro, and La Mère Coupable—detailing the adventures of Figaro, a barber from Seville, Spain. Rossini was not the first, nor the last composer to set the story to music: Giovanni Maria Pagliardi, Friedrich Ludwig Benda, Johann André, Francesco Morlacchi, Miguel Nieto and Gerónimo Jiménez, Nicolo Isouard, and H. R. Bishop are some of the names that come to mind. »

01 Nov 2005

BORODIN: Prince Igor (Highlights)

Not long ago the record label Delos announced that they would embark on a series of studio recordings of highlights from operas. This intriguing idea seemed to address the recording crisis spawned by the shrinking market for full studio sets, with their high cost for both producer and purchaser. »

01 Nov 2005

BIBER: Missa Christi resurgentis

In 1682 the Archbishopric of Salzburg celebrated its 1100th anniversary with an appropriately festal service in the Cathedral, depicted in an engraving by Melchior Küsel. Küsel’s engraving is a striking image, bringing into harmony the grand scale of the building (not yet one hundred years old), the ornamental richness of the interior, and the strong subdivisions of its space. »

30 Oct 2005

SAINT-SAËNS: Samson et Dalila

French composer Camille Saint-Saëns was a child prodigy, musicologist, astronomer, archeologist, poet, writer, teacher, and one of the most important and prolific composers of his generation. Yet, Saint-Saëns’ reputation has, for some time, mainly rested on his instrumental works the “Organ” Symphony, the overture Carnival of the Animals and his oratorio turned opera, Samson et Dalila. »

30 Oct 2005

PUCCINI: Manon Lescaut

Manon Lescaut was Puccini’s first big success, and his first contribution to the repertory. Yet it’s popularity has always lagged behind that of the composer’s following three mega-hits La Boheme, Tosca, and Madama Butterfly, as well as some later successes such as Turandot and even Gianni Schicchi. »

30 Oct 2005

Ewa Podleś — Rossini Gala

If Rossini could set a laundry list to music, then Ewa Podleś is one of the few candidates available to sing it. In this CD, recorded live at the Polish Radio Hall in Wroclaw (Wratislavia), during the thirty third International Festival Wratislavia Cantans Music and Fine Arts, the Polish contralto gives ample proof of her status as one of the great singers of her generation. »

27 Oct 2005

ROSSINI: La Cenerentola

Naxos is perhaps the only significant major label regularly releasing complete opera sets. A few have won widespread praise, and certainly the prices, at super-budget level, make them attractive to both first-time buyers and those whose collections scarcely justify an additional set. »

26 Oct 2005

Great Operatic Arias, Vol. 17 — Christine Brewer

Beethoven Shines Thru the Mix In the best of all possible worlds this recording of arias and show tunes would have been done in the original languages, the language of composition, with the vocal sounds intended by Gluck, Mozart, Weber, Wagner and others who defined great singing. »

26 Oct 2005

BACH: Cantatas, vol. 18

Here we have another part of John Eliot Gardiner’s remarkable Bach Cantata Pilgrimage, undertaken to perform—and record live—all of Bach’s surviving church cantatas at many different churches in a single year. »

26 Oct 2005

SZYMANOWSKI: Piano Music

Piotr Anderszewski is a talented young pianist, who makes Szymanowski’s music come alive in his recent recording of three of the composer’s major pieces. »

24 Oct 2005

The Karajan Collection—Wagner Orchestral Music

“Das Wunder Karajan” – “the miracle of Karajan” – is a phrase associated with the conductor since he was thirty years old, and that phrase holds true in his recorded legacy. In addition to recent DVD releases, EMI has issued a series of CDs in its “The Karajan Collection,” which preserves many fine studio recordings. »

24 Oct 2005

The Karajan Collection—Philharmonia Promenade Concert

The rich legacy of Herbert von Karajan includes a number of recordings with various orchestras around the world, and among them is the Philharmonia Orchestra, which is documented in the CD entitled Philharmonia Promenade Concert. As Richard Osborne recounts in the notes that accompany this release, Herbert von Karajan made a number of recordings with the Philharmonia Orchestra between 1948 and 1960. »

24 Oct 2005

DVOŘÁK: Tone Poems

In a richly Bohemian folk-style, the Czech poet Karel Jaromír Erben produced a collection of enchanted poetry that inspired Antonín Dvořák to compose his expressive array of hauntingly dark tone poems. Ultimately, the main character of each poem suffers a tragic consequence for their transgressions, ranging from the thoughtless utterances of a frustrated mother, to disobeying a parent, to murder. »

21 Oct 2005

BRUCKNER: Symphony No. 8

In recent years orchestras like the London Symphony have begun to release their own CDs, in lieu of pursing contracts recording firms. While the implications of this are best left to another discussion, it is significant to see that Royal Concertgebouw Orchestra now has its own label, and among its recordings is a fine live performance of Anton Bruckner’s Symphony no. 8 in C minor, led by its conductor laureate, Bernard Haitink. This recording is actually made from performances given on 18 and 20 February 2005, and preserves an outstanding recent interpretation of this enduring work by Bruckner. »

21 Oct 2005

Walisische Lieder sind eine Entdeckung wert

Das walisische Label SAIN (das walisische Wort für "Sound"), gegründet 1969 von Dafydd Iwan, Huw Jones und Brian Morgan Edwards, hat einen starken sozialen und politischen Anspruch und ist darauf spezialisiert, CD's mit jungen Sängern und Liedern aus Wales und in walisischer Sprache herauszubringen. »

21 Oct 2005

Welsh songs worth discovering

SAIN (the Welsh word for 'sound', and pronounced like the English word 'sign') is Wales' leading recording company, founded in 1969 in Cardiff by Dafydd Iwan, Huw Jones and Brian Morgan Edwards. The label has a strong social and political message, and for the first few years, SAIN specialised in songs by young singers, many of them concerning the national and linguistic resurgence of Wales, which had begun in the 60's. »

18 Oct 2005

BERKELEY: Ruth

You may never have heard of Lennox Berkeley. But his music was admired by many of the most notable composers of the mid-20th century—Britten and Poulenc were close personal friends, and he has a dedicated band of admirers today (there is a Lennox Berkeley Society). Yet, for one reason or another, Berkeley has never become a household name. »

18 Oct 2005

XL—Œuvres pour grand chœur

The “XL” of the title of this recording is, as the program book notes, a double reference. First, read as Roman numerals, it points to the extraordinary number of voice parts in Thomas Tallis’ famous “Spem in alium” and its modern analogue here, Antony Pitts’ “XL,” a forty-voice setting of text from Psalm 40. »

14 Oct 2005

MARSCHNER: Hans Heiling

This Dynamic set spills over with rewards for opera lovers, especially those looking for something a little (or a lot) off the beaten path. »

13 Oct 2005

HAYDN: Missa Cellensis
MOZART: Credo Messe
PARADISI GLORIA: Psalms
PARADISI GLORIA: Stabat Mater

One can divide these recordings into two groups of two compact discs each. Much of the music of the two Mass settings offered here was composed in the mid 1770s. We have a young Mozart—twenty years old and in the employ of Archbishop Colloredo of Salzburg when he composed this Credo Mass—and the veteran Franz Joseph Haydn, twice Mozart’s age and firmly settled at the Esterhazy court, when he completed the Credo, Sanctus, and Agnus Dei movements of the Missa Cellensis, a work he had begun in 1766 with the Kyrie and Gloria movements. »

11 Oct 2005

OFFENBACH: Les Fées du Rhin (Die Rheinnixen)

The genre of grand opera is not traditionally associated with Jacques Offenbach’s posthumous reputation. Yet as demonstrated by the performances documented in the present recording and essays in the accompanying notes, a revision of our assessment of Offenbach’s strengths is long overdue. »

10 Oct 2005

HANDEL: Teseo

“Teseo” is one of those “might have been” Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handel’s genius is simply too good a chance to miss. »