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Elsewhere

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

An interview with Tobias Ringborg

I arrive at the Jerwood Space, where rehearsals are underway for Garsington Opera’s forthcoming production of Idomeneo, to find that the afternoon rehearsal has finished a little early.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

Opera Las Vegas Announces Full Production of Carmen

Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Bampton Classical Opera 2016

A Double-Bill of Divine Comedies

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

A Conversation with Sir Nicholas Jackson

With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.


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Recordings

02 Apr 2016

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.  »

Recently in Recordings

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13 Mar 2005

Leo Slezak sings arias by Wagner, Verdi and Meyerbeer

Leo Slezak is generally regarded as a German tenor, although he was actually born in what is now the Czech Republic. But, Moravia, where he is from, was Austrian at the time, and had a significant German speaking population, with German the dominant language of the middle and upper classes. He made his debut in Brno (then Brunn), at a time when most opera performances were sung in German, and, to the best of my knowledge, all of his recordings were in that language or Italian (the great majority being in German). He made over 400 records from a wide repertory of German, Italian and French operas, as well as many Lieder and some operetta. His two published discographies list no records from Czech operas. The arias he recorded most frequently include 11 versions each of the Preislied and “Celeste Aida”, nine of the “Ah, fuyez douce image” and seven of the “Roi du ciel” from Le prophète. His stage repertory could probably be divided into four more or less equal parts. Verdi predominated, with 133 performances of Radames, 130 of Otello, 91 of Manrico, and at least 41 of Riccardo. He also sang Ernani and the Duke in Rigoletto. Wagner and grand opera (comprising Elèazar, Raoul, Jean in Le prophète and Assad), were probably tied for second and third, with other composers, including Mozart, Boieldieu, Gounod, Puccini, etc. coming in fourth. His career was largely centered on Vienna, but also included an important stint at the Met, some stays in Brno, Breslau and Berlin during his youth, and guest appearances in many other centers. He has been described as everything from a “Heldentenor” (in many sources) to a large voiced lyric tenor (by Michael Scott, in his books on great singers). I would split the difference, calling him the German equivalent of a French “fort tenor”, who could sing everything from Mozart to the lighter Wagner roles, and did. »

11 Mar 2005

BRITTEN: Serenade for Tenor, Horn and Strings; Nocturne; Phaedra

A spare and yet splendid masterpiece, Britten’s Serenade for Tenor, Horn and Strings doesn’t seem to make it into concert halls as often as it deserves. In the recording studio, however, it has fared well. Besides the classic recordings from the composer and his partner Peter Pears, esteemed versions from Anthony Rolfe-Johnson, Robert Tear, Ian Bostridge, and others have a place in the catalogue. »

10 Mar 2005

KÁLMÁN: Die Csárdásfürstin

Emmerich Kálmán’s name may be familiar primarily to music lovers d’un certain âge, but between the world wars his operettas were as popular as those of Léhar and Strauss on both sides of the Atlantic. Die Csárdásfürstin (The Gypsy [or Czardas] Princess), which premiered in Vienna in 1915, is his best known, and for good reason. Its book by Leo Stein and Béla Jenbach sparkles and delights, but with reversals of fortune that leave the audience wondering until the last minute how love’s complications will be resolved. The Budapest-born Kálmán (1882–1953; his fellow composition students included Béla Bartók and Zoltán Kodály) apparently was weaned on his homeland’s melodies and czardas, which he mixes generously with Austrian waltzes to create a glorious portrait of the twilight years of the Austro-Hungarian Empire. The piece played the New Amsterdam Theater in New York in 1917 as The Riviera Girl, with a new book by Guy Bolton and P. G. Wodehouse and added numbers by Jerome Kern. »

08 Mar 2005

BRITTEN: Canticles I–V, The Heart of the Matter

Benjamin Britten is usually thought of as a musical dramatist on a large, operatic scale, but the instinct (or perhaps the inner necessity) to capture psychological conflict in music burst through in his smaller musical forms as well. His five canticles (not to be confused with the church parables) mirror Britten’s artistic growth in his operas and other large-scale works from the late 1940s until shortly before his death. »

08 Mar 2005

The Origin of Fire: Music and Visions of Hildegard von Bingen

This last in the contributions of Anonymous 4 to the performance of medieval music is a selection of thematically related texts – most by Hildegard von Bingen – dealing with a spiritual or religious fire. Those renditions of traditional hymns, such as “Veni Creator Spiritus” and “Veni Spiritus eternorum alme,” are interspersed with works of Hildegard’s composition. Some of these are based on her prose visions, e.g. “Et ego homo non calens,” identified topically as “The fire of creation,” a depiction of which is also used for the cover illustration. The prose texts are provided with musical adaptations of plainsong by Anonymous 4. “The fire of creation” was performed using plainchant, and Hildegard’s vision “The fiery spirit” was adapted to a two-voice lection tone from Christmas matins of Polish origin. »

08 Mar 2005

VERDI: Les Vêpres Siciliennes

In 1847, Giuseppe Verdi revised his opera I Lombardi alla prima crociata (1843) into a work for the Parisian stage. This “new” composition, featuring extensive plot changes, new music, and the requisite ballet, is considered better than the original upon which it was based. A reverse fate awaited Verdi’s next work for Paris, the grand opéra Les Vêpres Siciliennes, which premiered at the Opéra in 1855. Although it was performed there, with minor changes, until 1863, attempts to get the work past censors in Italy failed, for tales of successful revolutions simply were not permitted on the Risorgimento stage. After a poor translation of the opera entitled Giovanna de Guzman made the circuits, Verdi revisited the score in 1856, and, removing the ballet, created I vespri sicilani. This inferior version, which employs much of Giovanna de Guzman’s text, is unfortunately the one that has remained in the repertory. »

07 Mar 2005

STRAUSS: Die Fledermaus

Film freezes time and even serves to transport an enrapt viewer into its temporal world. Viewers of the recent DVD release of a December 1980 performance of Strauss’ operetta classic, Die Fledermaus, may not be quite as ecstatic as the local audience, but resistance is futile. Have some champagne ready for the curtain calls. Lovers of this art form will rejoice, and even the operetta-resistant (of which your reviewer is one) must succumb to the energy, star power, and sheer good will of all involved. »

06 Mar 2005

PUCCINI: La Bohème

Even for a jaded reviewer like this one who has seen innumerable Bohème’s all over the world, there comes a moment in the third act when music and production simply take precedence over intellectual curiosity: the old magic works again and one is moved by the fate of these youngsters. High praise indeed for the famous Zeffirelli-production, born in 1963 at La Scala together with a juicy scandal when Di Stefano was ousted and replaced by Gianni Raimondi. »

05 Mar 2005

ZEMLINSKY: Une Tragédie Florentine

The operas of the Austrian composer Alexander von Zemlinsky (1871-1942) continue to fascinate audiences with their combination of carefully composed music and well-selected librettos. After using fairy-tale elements in his early operas, such as Sarema (1897), Es war einmal (1900), and Der Traumgörge (1905-6), Zemlinsky turned to Renaissance settings for Eine florentinische Tragödie (1917) and Der Zwerg (1922). In fact, Zemlinsky’s Florentinische Tragödie is based the dramatic fragment A Florentine Tragedy, by Oscar Wilde, whose works intrigued other composers of the time. Beyond the provocative drama Salome set by Richard Strauss, Franz Schreker used a story by Wilde as the basis for his ballet Die Geburtstag der Infantin (1908). »

05 Mar 2005

SCHOENBERG: Gurrelieder

Schoenberg for lovers. Sounds like an oxymoron, but in fact there is enough passion in the too seldom heard Gurrelieder to make even Valentine blush. We know Schoenberg largely from the atonal and dodecaphonic later works (and most listeners know of these mostly by inaccurate rumor). But we forget all too often the fact that Schoenberg had an early period, much of which is readily accessible to conservative tastes. Gurrelieder is the sort of diamond in the crown of this period, a long cantata-like adventure, some two hours in full. Scored for an enormous orchestra, four choirs, and speaker, and five soloists, the work is the logical conclusion of the nineteenth-century penchant for Texas-style excess when it comes to orchestration: you can’t get any bigger than this without havin’ to build a second story. »

01 Mar 2005

Mosaic: African-American Spirituals

Angela Brown has attracted the attention of those eager for the appearance of the next great Verdi soprano, and she continues to live up to the high expectations. Appearances with the Opera Company of Philadelphia as Leonara in Il Trovatore, Elisabetta in Don Carlo, and Strauss’s Ariadne evoked high praise from local and national critics, and her recent debut as Aida at the Metropolitan Opera was well received. All have noted the powerful and richly expressive voice in early bloom as well as Brown’s commanding stage presence. So this recent recording of spirituals, sung only with guitar or piano accompaniment (they all three contribute to the final “Ride Up in the Chariot”), is an interesting release. Brown is minimizing resources in search of what, in the liner notes, she calls an “intimate recording” of “songs of personal introspection.” The results are a little more mixed than her operatic reception. »

01 Mar 2005

VERDI: Falstaff

This Andante release is a marvelous compilation of two recordings of Verdi’s Falstaff performed at the Salzburg festival, the first conducted by Arturo Toscanini in 1937, the second by Herbert Von Karajan in 1957. The juxtaposition and accompanying extensive program notes encourage the aficionado to compare, contrast and delight in the music through the lens of time. Falstaff was a favorite of the maestri and both took professional chances with it. Toscanini performed Falstaff during his first season at La Scala in 1898; Karajan perplexed his German-speaking audience by programming Falstaff in Aachen during his final season in 1941-2. »

28 Feb 2005

STRAVINSKY: Oedipus Rex; Les Noces

Robert Craft has begun an ambitious project of recording Stravinsky’s oeuvre with two of the best dramatic works, Oedipus Rex — a sort of melodrama in a fever — and Les Noces (The Wedding), which simply defies any generic classification. The two make an ideal pairing, Rex as high drama told at a breakneck crawl, Noces as a kind of musical Polaroid camera that churns through frozen snapshots with a mind numbing velocity. Craft was a close confidant and collaborator with Stravinsky, and was responsible for many premiers and other definitive statements. For better or worse this fact brought down upon his head a certain amount of critical skepticism on the part of academics. This can be set to one side in these recordings, which are certainly reliable in a workaday sense, if a little tepid in terms of insight and energy. »