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Elsewhere

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

A Winter's Tale: a world premiere at English National Opera

The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.

Wexford Festival Opera announces details of 2017 Festival

Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

Oxford Lieder Festival 2017: Gustav Mahler and fin-de-siècle Vienna

Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.


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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.  »

Recently in Recordings

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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. »