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Elsewhere

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

World Premiere of Jennifer Higdon’s opera Cold Mountain at Santa Fe Opera this August

East Coast Premiere at Opera Philadelphia next season. Performances from Cold Mountain at the Guggenheim in New York this Monday, March 30.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Winners of the Metropolitan Opera National Council Auditions Announced

Five Young Singers Named Winners of the 2015 Met National Council Auditions, America’s Most Prestigious Vocal Competition

A Chat with Julia Noulin-Mérat

Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.


OPERA TODAY ARCHIVES »

Recordings

Hyperion 68035 [CD]
06 Mar 2015

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.  »

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. »