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Die Meistersinger von Nurnberg in San Francisco

Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.

Le Nozze di Figaro, Manitoba Opera

To borrow from the great Bard himself: “the course of true love never did run smooth.”

Arizona Opera Presents Florencia in el Amazonas

Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.

Viva la Mamma!: A Fun Evening at POP

Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.

LA Opera Norma: A Feast for the Ears

Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).

Alban Berg’s Wozzeck at Lyric Opera of Chicago

In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.

A Prize-Winning Rediscovery from 1840s Paris (and 1830s Egypt)

Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century. In recent days,

Florilegium at Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704).

Leoncavallo’s Zazà by Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse raised from the backstreets to the bright lights — is a walking compendium of emotions.

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Biedermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.



Felicien David: Le Desert (Naïve V5405)
30 Nov 2015

A Prize-Winning Rediscovery from 1840s Paris (and 1830s Egypt)

Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century. In recent days, »

Recently in Recordings

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24 May 2005

Teresa Berganza: The Spanish Soul

Brilliant Classics’ Teresa Berganza: The Spanish Soul is an outstanding compilation of Spanish songs and cycles by prolific Spanish and Latin American composers, including de Falla, Granados, Turina, Guridi, Toldra, Villa-Lobos, Braga, and Guastavino. The very beauty of this recording is the innate sense of energy in the Spanish style, which both Berganza and pianist Juan Antonio Alvarez Parejo seem to execute effortlessly. Once more, such an extensive collection of well-known compositions alongside rare jewels creates an essential recording. »

24 May 2005

Ivan Kozlovsky: The Great Russian Tenor

This new release from Pearl presents an anthology of Russian selections, primarily operatic, performed by tenor Ivan Kozlovsky (1900-1993). Kozlovsky was one of the giants of the Russian operatic stage during its glory days in the 1940s and 50s; he recorded extensively with Melodiya, both Russian and Western repertoire. Surprisingly, however, there has apparently never been a Kozlovsky Russian anthology available prior to this release (Myto Records released a collection of the singer’s Western operatic hits in 2000). It is gratifying to see it finally here. »

24 May 2005

Arie del ‘700 Italiano (Italian arias of the 18th century)

Featuring nine arias from various eighteenth-century operas and composers, this recording contains a wide variety of dramatic songs, three of which are the recitative and aria “Se cerca, se dice: “I’amico dov’e?” and “Ha keres, ha kerdez: a baratom hol van?” from the opera L’Olimpiade, set by three different composers. Accompanied on period instruments by the Savaria Baroque Orchestra, Monica González does a magnificent job with each of the arias on this disc. She is a former winner of the International “Toti dal Monte” singing competition, and has studied by personal invitation with Dame Joan Sutherland and Richard Bonynge at their home in Montreaux. »

24 May 2005

ADAM: Si J’etais Roi
LEHÁR: Rose de Noël

Accord has gone back to the vaults for an attractively packaged series called “Opérette.” On the evidence of two of the sets, these releases feature recordings made in the late 1950s and early ‘60s. The booklets are entirely in French (and offer no librettos whatsoever), but even a French-challenged persons such as your reviewer can understand the inside front cover, which appears to explain that the recordings are the efforts of “L’Academie Nationale de l’Opérette.” This organization appears to have as its rationale — all right, raison d’etre — the preservation, if not resuscitation, of the great French tradition of light musical entertainments. With bold, bright colors decorating the packaging, the sets come across as delectable candy boxes — but how much sweetness one will enjoy when partaking of the series does depend on a taste for the bouncy, frivolous world of operetta. »

23 May 2005

DONIZETTI: Maria Stuarda

One of the more interesting debates in arts politics in England last century centered on the language in which operas should be performed. While some staunchly favored opera in the original, others maintained that librettos should be translated into the vernacular. The latter side felt strongly that opera in English would nurture a national style of operatic presentation; a more chauvinistic argument suggested that if native composers heard opera in English, they would be more likely to attempt to set original English librettos (which, of course, would come from the pens of similarly inspired writers). Benjamin Britten and W.H. Auden’s Peter Grimes (1945) might be interpreted as representative of such a strategy. In addition, the mounting of vernacular performances also would inspire British performers (and discourage foreign singers who would be less likely to want to relearn a role in a new language). The debate eventually led to the division of operatic labor, with Covent Garden (soon to be renamed The Royal Opera) to perform works in their original languages and Sadler’s Wells (renamed the English National Opera after its move to the Coliseum, where it remains today) to produce works in translation. Thus, it was left up to audiences to decide which they preferred—or, better yet, to enjoy them both. »

23 May 2005

Geistliche arien des norddeutschen Barock (Sacred Baroque arias from North Germany)

This disc features nine compositions by eight composers located in the area of northern Germany from the sixteenth to the early seventeenth centuries. Despite the title, this recording presents sets of sacred compositions for soprano voice and instruments separated by purely instrumental pieces. The disc begins and ends with compositions by Christian Geist (ca. 1640-1711); otherwise, there is a variety of composers and compositions represented here. »

20 May 2005

FAURÉ: The Complete Songs - 1 — Au bord de l’eau

The songs of Gabriel Fauré (1845-1924) are some of the finest works examples of the genre and they represent the mature French mélodie in the hands of a composer who knew both the voice and the piano quite well. This release is the first of four discs that include all of Fauré’s songs for voice and piano within Hyperion’s series of French Song editions. Like those other collections from Hyperion, this volume of the Fauré set involves excellent performers who know the literature well. »

17 May 2005

BROWNE: Music from the Eton Choirbook

For more than a quarter century, Peter Phillips and the Tallis Scholars have achieved great distinction in the performance of sixteenth-century polyphony, bringing to that repertory interpretations of engaging directness, rhythmic vitality, and fullness of tone. These are qualities that are admirably well suited to the music of the Eton Choirbook and one of its most representative composers, John Browne, the subject of this recent recording. »

11 May 2005

BØRRESEN: The Royal Guest

When this CD arrived, I had never heard of Danish composer Hakon Børresen (1876–1954). Baker’s gives him only a few lines, and a Google search didn’t turn up much information until I found a Danish site ( with interesting biographical details to supplement the little biography in the CD notes. When I put the CD on and sat back to listen, I suddenly realized I had heard, if not heard of, Børresen before. It’s Richard Strauss! Or maybe Edward Elgar. The composer seems to have remained firmly rooted in the nineteenth century (or maybe Hans Pfitzner) until his death, three years after that of Arnold Schoenberg. That he retained his leadership of the Danish Composers’ Society during the Nazi occupation until he was ousted in 1948 may say something about his conservative nature as well. »

11 May 2005


This problematic recording is another in Naxos’s “American Classics” series, an important body of releases that demonstrates the broad reach of American music across two centuries. While some of the recordings are decidedly novelties, they are welcome as such. William Henry Fry’s “Santa Claus” Symphony, for instance, deserves to be heard as well as mentioned in textbooks. The songs of Dave Brubeck, however, are certainly more than novelties, despite their not being as well known or as widely heard as the music of his justly famous quartet. »

10 May 2005

Mara Zampieri: A Tribute to Verdi

The recurring practice in classical recording studios is “re-mastering” recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who released only a handful of commercial recordings and no personal compilations. Myto’s new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently. »

09 May 2005

WEILL: Die sieben Todsünden

A new recording of Kurt Weill’s (1900 – 1950) ballet chanté, Die 7 Todsünden (1933) featuring Anja Silja and the SWR Rundfunkorchestra Kaiserslautern and conducted by Grzegorz Nowak, has recently been made available in the U.S. on the Hässler-Classic label. Also included on the CD is Weill’s Quodlibet, opus 9 (1923) — an orchestral arrangement taken from his 1922 children’s pantomime, Zaubernacht. »

09 May 2005

ZANDONAI: Francesca da Rimini

Strange to think that Magda Olivero has to thank Renata Tebaldi and Maria Callas for two of her best known live recordings. Tebaldi cancelled the famous Adriana Lecouvreur performances in Naples 1958 (Corelli, Bastianini, Simionato) and La Scala originally wanted Callas as Francesca da Rimini. Twice Olivero substituted and made the role so much her own that whenever one of these operas pops up in a conversation so does Olivero’s name. Contrary to Adriana, Francesca was not a staple in the soprano’s repertoire. She sang a few performances with Alessandro Ziliano and Tullio Serafin in Torino in 1940 and only returned to the role 19 years later for her second and last run of Francescas. »

09 May 2005

Lamentations and Messiah

The Brilliant Classics label has been releasing budget priced recordings on CD for some time now, many to high praise. Complete symphony cycles (for example, of Shostakovich and Bruckner) have been favorably compared in some publications to those from major labels featuring star conductors and top orchestras. »

09 May 2005


The Basque region of Spain is known as a unique cultural enclave. Within its confines thrives a rich artistic heritage. Composer Francisco Escudero has become one of the most famous 20th century composers from the region. His avant-garde sound blends many eclectic styles with elements of traditional Basque music. »

05 May 2005

The Very Best of Beverly Sills

EMI Classics’ release of The Very Best of Bevery Sills is a mixed bag. Unlike similar EMI compilations of Maria Callas, Mirella Freni, or Lucia Popp, who all present an array of signature arias or art songs, this release should be re-titled Some of Beverly Sills’ Opera Scenes and a Few Arias. Though Sills performs with an impressive cast, including Alfredo Kraus, Nicolai Gedda, Sherrill Milnes, and Samuel Ramey, this recording would be much more satisfying if is showcased more of signature Sills. »

04 May 2005

BIZET: Carmen

I still remember the incredible excitement in the early 1970s when DGG issued recordings featuring the young conductor, Carlos Kleiber (1930-2004). Both the Weber Freischütz and Beethoven Fifth Symphony showcased the craft of an extraordinary talent, an artist capable of making even the most familiar music sound fresh, spontaneous, and new. Music lovers hoped that this son of the great conductor Erich Kleiber would be a constant presence, both in the concert hall and opera house. »

03 May 2005

VERDI: La Forza del Destino

“The policies of recording companies never fail to wonder me.” I am often reminded of the late Harold Rosenthal’s expression in the magazine, Opera, and I definitely had it in mind when I received this recording. Why would anyone bring out a set with two singers (Bergonzi and Cappuccilli) duplicating their roles of the classic EMI-recording of 1969; maybe still the best buy around? And yet, yet I’m not so sure anymore of the superfluousness of this set. There are two reasons for it. Number one is Carlo Bergonzi. I didn’t think he would be able to surpass his formidable EMI-Alvaro and nevertheless he does. Bergonzi’s voice was slowly changing in the early seventies. He had been singing the most strenuous roles of the repertoire for almost a quarter of a century and still the voice had not suffered. On the contrary, there were no traces of his baritone past anymore. The top was secure, though there never was much squillo and a high C usually became a high B. It was the middle voice that had changed most. It became honeyed, silvery in an almost Gigli-like way. Combined with his inexhaustible breath control, his legato and the way he could colour some small phrases and switch from forte to a heavenly pianissimo it slowly dawned upon many listeners that here was one of the greatest tenors of the century who maybe had been taken too much for granted. »