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Elsewhere

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

When Performance Gets Political: A Brooklyn Concert Benefiting the ACLU

What’s an artist’s place in politics? That’s the question many were asking after actress Meryl Streep made a pointed speech criticizing President Trump at the Golden Globes. Trump responded directly to Streep, using his preferred communication medium of Twitter to call Streep “overrated.”

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.


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Recordings

05 Dec 2016

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.  »

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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. »

03 May 2005

VERDI: Ernani

“Few tenors today have his ringing top” and “his ringing, clear top” are not exactly qualities one associates with baritenor Placido Domingo, as he has been calling himself for the last ten years. Still, those were the exact words used by critic Peter Hoffer in his reports for Opera Magazine and Opera News on the opening of La Scala for the season 1969-1970. In all honesty, a ringing top à la Corelli is not exactly what one hears on this recording. But there is no hint of a pushed up baritone either. This is 28-year old fresh voiced Domingo with all the beauty and youthful freshness of the middle voice and quite an acceptable top always taking the higher option (A or B-flat) at the end of a solo or a duet. Mr. Domingo has been so long among us that one somewhat has forgotten how meltingly beautiful the young tenor sang, relying on his outstanding vocal gifts. »

03 May 2005

VERDI: Attila

This DVD release, taken from an RAI telecast, documents a 1991 La Scala performance of Verdi’s 1846 opera, based on the life of Attila the Hun. I’ve always felt that early Verdi is one of Riccardo Muti’s greatest strengths. When Muti was Music Director of the Philadelphia Orchestra, I was privileged to see their concert performances of Nabucco and Macbeth. Both featured breathtaking execution, intensity, and momentum. »

28 Apr 2005

HANDEL: Rodelinda

There was a time, not so long ago, when Handel was a rare bird on the video shelves of opera shops and record retailers, but it seems that with the advent of the slim ‘n sexy DVD disc, and (in Europe at least) a more flexible attitude to rights issues between record companies and opera houses, that those days are now, happily, past. The latest offering from Farao Classics is the 3 year old Munich Staatsoper production of his “Rodelinda” with staging by David Alden, music direction by Ivor Bolton, first given at their Festival in 2003. I’m not entirely sure why certain operas get chosen for DVD release and others don’t, and this one is a bit of a puzzle for several reasons. »

28 Apr 2005

LARSEN: love lies bleeding — Songs by Libby Larsen.

This CD, entitled "Love Lies Bleeding," is a companion to the fascinating recording by the same soprano and pianist, entitled "With All My Soul" (The Orchard 6003). »

26 Apr 2005

GLUCK: Orphee et Euridice

Christoph Willibald Gluck's (1714-1787) Orfeo ed Euridice is an opera that began a major reform of Italian opera and the way it was composed and performed in the eighteenth century. »

25 Apr 2005

BRITTEN: The Turn of the Screw

Britten biographer Humphrey Carpenter quotes a friend of the composer’s as calling Miles “a male Lolita.” For all the blather, if not bother, about innocence in The Turn of the Screw, I’ve never felt there was much of it present among the inhabitants of Bly. There’s sure a nasty case of naiveté going around among the grown-ups though. »

24 Apr 2005

BIZET: Les Pêcheurs de Perles

Les Pêcheurs de Perles is not a terribly major opera. Ned Rorem once memorably described it as “harmless” concerning the occasion on which it shared a double bill with the world premiere of Poulenc’s Les Mammeles De Tiresias. But for a competent early work by a promising composer who went on to greater things (well, one greater thing, given his tragically early death), Pecheurs has been given an enormous amount of attention both on stage and in the recording studio. An attractive work of conventional Second Empire French oriental exotica, it’s blessed to contain two beloved numbers that have won the hearts of opera lovers whose loyalty keeps it before the public with some frequency. »

24 Apr 2005

Miliza Korjus sings Mozart, Donzetti, Delibes, Meyerbeer, Offenbach, Gounod, ...

Miliza Korjus (1912-1980), the “Queen of Pyrotechnics”, sings with a crystalline precision, reminiscent of Joan Sutherland, and a purity of voice akin to Natalie Dessay. During the height of her operatic career, 1933-1936, Korjus had the flexibility, dynamic vocal range, and brightness to become the quintessential lyric coloratura. Hänssler Classic brings her voice back to life by remastering the very Electrola recordings that made her singing “immortal.” »

24 Apr 2005

“Fly, Thought, on Golden Wings” — Verdi’s Life told by Thomas Hampson

With a running time of 60 minutes, this DVD biographic feature on Verdi’s life might possibly be a satisfactory introductory piece for the newcomer to the great man and his art. Even then, the knowledge gained would barely form an outline to be filled in by much more study. However, if one would like a pretty travelogue of the sights and landscapes of Verdi’s Italian roots (with a side trip to Paris), plus a little time joining Thomas Hampson in admiring his own handsome self, Euroarts has a treat in store. »

22 Apr 2005

GOUNOD: Polyeucte

In spite of the fact that Gounod had a special fondness for Polyeucte, it was among the least successful of his many operas. In fact, he was reported to have considered it as the favorite of his works. It was first composed around the time of the Franco-Prussian war. »

22 Apr 2005

WILLIAMS: Wagner and the Romantic Hero

There is no doubt that Richard Wagner as an artist, composer, and writer was the center of controversy both during and after his lifetime. Despite the overwhelming political, social, and psychological elements contained in his musical oeuvre, Wagner is one of the more enduring figures in the history of the arts. Based on lectures delivered at the Bayreuth Festival between 1998 and 2000, Simon Williams examines a topic that has generated much interest and scrutiny both within the arts and outside of it: Wagner’s treatment of the hero. »

22 Apr 2005

Joan La Barbara. Voice is the Original Instrument: Early Works (1974-1980)
Jacqueline Humbert. Chanteuse

You can rely on Lovely Music. The new-music label Lovely Music invariably provides some of the most interesting new music available on recordings. They can be relied upon in a business with its fair share of unreliables — immaturity, bad quality recording, sophistry — to give good quality interesting recordings of innovative work. They’ve been around for at least two decades, and their catalog covers some of the very best in what can be called “downtown” new music — conceptual music influenced in large part by John Cage, world music, and modern American art and dance after abstract expressionism (let’s say Warhol and after). Their rather humble website is at www.lovely.com, and really tells only a small part of their story. For someone exploring American new music for the first time, they make a very good starting point. »

21 Apr 2005

GLASS & MARSHALL: Les Enfants Terribles — Children of the Game

Well I’m trying. The liner notes read: “Les Enfants Terribles, the final installment of Philip Glass’ trilogy based on the work of Jean Cocteau, articulates Cocteau’s belief in the transcendent power of imagination and creativity. It is the story of a brother and a sister, Paul and Lise, two characters so caught up in a world of their own imaginings that they can no longer see a reality beyond their ‘game’.” The music on this cd is the accompaniment to a dance/opera (and thus it’s only half the story — to be as fair as possible to thing). The work is scored for three singers and a narrator, accompanied by three keyboards. »

21 Apr 2005

SAARIAHO: Cinq reflets de L'Amour de loin; Nymphea Reflection; Oltra Mar

This is very pleasant new music, long in breath, richly scored, nice poetry, nothing pretentious, but good solid rewarding composition. Ms. Saariaho is truly adept at making a great orchestral score, and she has a way with voices, particularly Pia Freund’s on the first track, which truly soars. »

19 Apr 2005

Sir Thomas Allen: Great Operatic Arias

Some 20 years ago I ended my subscription to Opera Magazine after an article by its editor, the late Harold Rosenthal. He had written a review of La Clemenza di Tito that described tenor Stuart Burrows in words that, for those who did not attend the performance, they had missed the second coming of Enrico Caruso, Jussi Björling and Beniamino Gigli in one person. I had attended and I knew that Rosenthal and his colleagues could be almost funny in their chauvinism but enough was enough. Well, I’m happy to report the old tradition still lives on. I looked at some reviews of this recital by British critics and Giuseppe De Luca, Tito Gobbi and Robert Merrill in their heydays would have been proud of such notices. »

18 Apr 2005

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer

For whom is this fine CD? It is published by Hänssler Verlag; a publishing house that specializes in Christian literature and that has a classical record branch as well. »