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Elsewhere

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.


OPERA TODAY ARCHIVES »

Recordings

Harmonia Mundi HMC902107 [CD]
15 Dec 2014

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.  »

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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. »