Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance.

A stellar Ariadne auf Naxos at Investec Opera Holland Park

Strauss’s Ariadne auf Naxos is a strange operatic beast. Originally a Molière-Hofmannsthal-Strauss hybrid, the 1916 version presented in Vienna ditched Le bourgeois gentilhomme, which had preceded an operatic telling of the Greek myth of Ariadne and Theseus, and replaced it with a Prologue in which buffa met seria as competing factions prepared to present an entertainment for ‘the richest man in Vienna’. He’s a man who has ordered two entertainments, to follow an epicurean feast, and he wants these dramatic digestifs served simultaneously.

PROM 5: Debussy’s Pelléas et Mélisande

Stefan Herheim’s production of Debussy’s magnificent 1902 opera for Glyndebourne has not been universally acclaimed. The Royal Albert Hall brought with it, in this semi-staged production, a different set of problems - and even imitated some of the production’s original ones, notably the vast shadow of the organ which somewhat replicates Glyndebourne’s 1920’s Organ Room, and by a huge stretch of the imagination the forest in which so much of the opera’s action is set.

Thought-Provoking Concert in Honor of Bastille Day

Sopranos Elise Brancheau and Shannon Jones, along with pianists Martin Néron and Keith Chambers, presented a thrilling evening of French-themed music in an evening entitled: “Salut à la France,” at the South Oxford Space in Brooklyn this past Saturday, July 14th.

Dido in Deptford: Blackheath Halls Community Opera

Polly Graham’s vision of Dido and Aeneas is earthy, vigorous and gritty. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.

Summer madness and madcap high jinxs from the Jette Parker Young Artists

The operatic extracts which comprised this year’s Jette Parker Young Artists Summer Performance seemed to be joined by a connecting thread - madness: whether that was the mischievousness of Zerbinetta’s comedy troupe, the insanity of Tom Rakewell, the metaphysical distress of Hamlet, or the mayhem prompted by Isabella’s arrival at Mustafà’s Ottoman palace, the ‘insanity’ was equally compelling.

Mefistofele at Orange’s Chorégies

This is the one where a very personable devil tells God that mankind is so far gone it isn’t worth his time to bother corrupting it further.

Mascagni's Isabeau rides again at Investec Opera Holland Park

There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.

The 2018 BBC Proms opens in flamboyant fashion

Anniversaries and commemorations will, as usual, feature significantly during the 2018 BBC Proms, with the works of Leonard Bernstein, Claude Debussy and Lili Boulanger all prominently programmed during the season’s myriad orchestral, vocal and chamber concerts.

Banff’s Hell of an Orphée+

Against the Grain Theatre brought its award winning adaptation of Gluck’s opera to the Banff Festival billed as “an electronic baroque burlesque descent into hell.”

A Choral Trilogy at the Aix Festival

What Seven Stones (the amazing accentus / axe 21), and Dido and Aeneas (the splendid Ensemble Pygmalion) and Orfeo & Majnun (the ensemble [too many to count] of eleven local amateur choruses) share, and virtually nothing else, is spectacular use of chorus.

Vintage Audi — Parsifal, Kaufmann, Pape

From the Bayerisches Staatsoper Munich, Wagner Parsifal with a dream cast - René Pape, Jonas Kaufmann and Nina Stemme, Christian Gerhaher and Wolfgang Koch, conducted by Kirill Petrenko, directed by Pierre Audi. The production is vintage Audi - stylized, austere, but solidly thought-through.

Flight Soars High in Des Moines

Jonathan Dove’s innovative opera Flight is being lavished with an absolutely riveting new production at Des Moines Metro Opera’s resoundingly successful 2018 Festival.

Fledermaus Pops the Cork in Iowa

Like a fizzy bottle of champagne, Des Moines Metro Opera uncorked a zesty tasting of Johan Strauss’s vintage Die Fledermaus (The Bat).

A spritely summer revival of Falstaff at the ROH

Robert Carson’s 2012 ROH Falstaff is a bit of a hotchpotch, but delightful nevertheless. The panelled oak, exuding Elizabethan ambience, of the first Act’s gravy-stained country club reeks of the Wodehouse-ian 1930s, but has also has to serve as the final Act’s grubby stable and the Forest of Windsor, while the central Act is firmly situated in the domestic perfection of Alice Ford’s 1950s kitchen.

Down on the Farm with Des Moines’ Copland

Ingenious Des Moines Metro Opera continued its string of site-specific hits with an endearing production of Aaron Copland’s The Tender Land on the grounds of the Maytag Dairy farm.

Des Moines’ Ravishing Rusalka

Let me get right to the point: This is the Rusalka I have been waiting for all my life.

L'Ange de feu (The Fiery Angel)
in Aix

Prokofiev’s Fiery Angel is rarely performed. This new Aix Festival production to be shared with Warsaw’s Teatr Wielki exemplifies why.

Ariane à Naxos (Ariadne auf Naxos) in Aix

Yes, of course British stage director Katie Mitchell served up Richard Strauss’ uber tragic Ariadne on Naxos at a dinner table. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps.

The Skating Rink: Garsington Opera premiere

Having premiered Roxanna Panufnik’s opera Silver Birch in 2017 as part of its work with local community groups, Garsington Opera’s 2018 season included its first commission for the main opera season. David Sawer's The Skating Rink premiered at Garsington Opera this week; the opera is based on the novel by Chilean writer Roberto Bolano with a libretto by playwright Rory Mullarkey.


OPERA TODAY ARCHIVES »

Commentary

Isabeau
18 Jun 2018

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.  »

Recently in Commentary

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13 
30 Mar 2005

Philippe Jordan at the Met

On Monday night, the Metropolitan Opera began another run of Mozart’s “Don Giovanni,” but without music director James Levine in the pit. He was at Carnegie Hall, directing his new band, the Boston Symphony Orchestra. Conducting at the Met was Philippe Jordan, the sensational young Swiss. He is the son of the esteemed maestro Armin Jordan; indeed, they are the most noted father-son conducting pair since the Kleibers. But Philippe will far outpace Armin. That is the safe betting, at least. »

29 Mar 2005

Le Monde Profiles Rolando Villazon

Rolando Villazon est un ténor à sang chaud. Ce fils de Mexico est capable de vous attendre sur une place venteuse de Vienne, par une après-midi teigneuse, tête et mains nues, dans le grand froid qui tient encore la capitale autrichienne en cette mi-mars. La veille au soir, il incarnait avec une grâce incroyable un fragile et magnifique Roméo dans le Roméo et Juliette de Gounod, monté à la Wiener Staatsoper. »

28 Mar 2005

Deborah Voigt: The Comeback Kid

When the soprano Deborah Voigt was dropped from a Covent Garden production of Strauss’s Ariadne auf Naxos last year she claimed it was her inability to fit into a sleek black dress that prompted her dismissal. »

26 Mar 2005

The Independent Interviews Angela Gheorghiu

“If Puccini were alive today, I’d be in love with him. I am sure of it. He knew how to write for sopranos: he really loved them,” says Angela Gheorghiu. And this soprano knows Puccini’s heroines well, having most of them in her repertoire or in her plans. On her latest CD, a handsomely packaged set from EMI, she steps into the shoes of all his major soprano characters, with the exception of the adulterous Giorgetta in Puccini’s most impressionistic score, Il Tabarro. »

25 Mar 2005

An Interview with Peter Schreier

“200 oder 300” Matthäus-Passionen hat Peter Schreier (69) schon hinter sich, als Sänger, seit den 80er-Jahren in der Doppelfunktion als dirigierender Evangelist. So auch an diesem Karfreitag im Gasteig, wenn er das Opus mit dem Münchener Bach-Chor aufführt (14.30 Uhr, Live-Übertragung auf Bayern 4). Und damit wohl zum letzten Mal hier zu hören sein wird: Zum Jahresende will Schreier, einer der größten Bach-, Mozart- und Schubert-Interpreten unserer Zeit, seine Gesangskarriere beenden. »

24 Mar 2005

Operatic Detritus

In an introduction to the score for his “Darkbloom: Overture for an Imagined Opera,” which will have its premiere with the Boston Symphony Orchestra tonight, John Harbison calls the piece the remnant of a misguided project, an “unproduceable” opera based on a “famous and infamous” American novel. »

21 Mar 2005

James Levine on Opera in Concert

CAMBRIDGE—James Levine doesn’t like pushy producers and stage directors any more than most opera lovers do. In a panel discussion at Harvard last Monday centered on the BSO’s recent performances of Wagner’s ‘’The Flying Dutchman,” the music director spoke about the advantages of opera in concert. »

20 Mar 2005

The Opera That Changed a Career

He was the toast of the new Russian Communist regime, a young composer who had captivated audiences under the banner of the emerging cultural revolution. But in 1936, Dmitry Shostakovich’s reputation plummeted after Stalin attended his immensely popular opera, Lady Macbeth of the Mtsenk, at the Bolshoi Theater. »

05 Mar 2005

Celebrating Lorin Maazel

Wien ist zwar Stätte vieler seiner künstlerischen Triumphe – und doch auch des vielleicht bitters ten Wermutstropfens in einer formidablen Karriere: Lorin Maazel, der am Sonntag 75 Jahre alt wird, war einer der kürzestdienenden Direktoren der Staatsoper, kapitulierte nach nur zwei Spielzeiten, weil die Angriffe gegen ihn unerträglich geworden waren und die Kulturpolitik, verbündet mit den Angreifern, versagte. Immerhin: Das so genannte “Blocksystem”, eine Spielplangestaltung in “kleinen Serien”, wie sie der Nachfolger Maazels dann nannte, gab zwar den Ausschlag für eine Kampagne gegen den dirigierenden Direktor, doch pflegt die Staatsoper es bis heute. »

04 Mar 2005

A Profile of Brenda Harris

Singing offbeat, nontraditional roles can be a path to oblivion for an opera singer. For Brenda Harris, that road has led to fame, fortune and as much work as she can handle. It also means that Harris often is learning new roles. »

03 Mar 2005

Mozart? Maybe Not.

01. März 2005 Ein Rokokoherr mittleren Alters, Frack, Spitzenjabot, gepudertes Haar – könnte das nicht Mozart sein? Niemand weiß, wie der Komponist wirklich ausgesehen hat. So galt es denn als „Weltsensation”, als die Berliner Gemäldegalerie ihren bisherigen „Herrn im grünen Frack” vor wenigen Wochen aufgrund einer computergestützten Analyse des Musikliebhabers Wolfgang Seiller als neu entdecktes Mozart-Porträt präsentierte. Gemalt hatte es der seinerzeit renommierte Münchner Porträtist Johann Georg Edlinger „vor 1790”, was aber nun auf „um 1790” umfunktioniert wurde. »

02 Mar 2005

James Levine and the 21st Century

We’re undeniably in the era of James Levine. The Cincinnati-born, 61-year-old conductor is right now art music’s Great Enabler. As music director of the Metropolitan Opera for nearly the last 30 years and in the home stretch of his first season as chief conductor of the Boston Symphony Orchestra, his potential for goosing the possibilities of 21st-century classical music performance is unique. »

26 Feb 2005

Dietrich Fischer-Dieskau at Berlin Cathedral's 100 Year Jubilee

Der Berliner Bariton Dietrich Fischer-Dieskau gehörte über Jahrzehnte hinweg zu den weltweit gefeierten Liedsängern. Der fast 80jährige ist nach wie vor als Dirigent, Maler, Buchautor, Ehrengast aktiv – und wird heute im Konzert des Rundfunk-Sinfonieorchesters Berlin zum 100jährigen Jubiläum des Berliner Doms als Sprecher auftreten. Volker Blech sprach mit Dietrich Fischer-Dieskau. »

26 Feb 2005

Nikolaus Harnoncourt at Zurich Opera

It is the day before the opening night. Zurich is agog for the new production of Monteverdi’s opera L’incoronazione di Poppea, but there is a snag. The Poppea has gone sick. A new one has had to be flown in from Frankfurt, and in only a matter of hours has had to be acclimatised to the radical staging and familiarised with the edition of the score that Zurich Opera is using. »

23 Feb 2005

Die Welt Interviews Rolando Villazón

Der 32-jährige Mexikaner Rolando Villazón hat sich in seinen wenigen Karrierejahren bereits als eine der größten Tenor-Hoffnungen erwiesen. Ein Interview mit dem nie stillsitzenden Lockenkopf ist wie eine Bühnenvorstellung. Manuel Brug hat es erfahren. »

18 Feb 2005

A Star Is Born

Phumzile Sojola got the call less than 36 hours before the concert. University of Kentucky alum Gregory Turay, who was set to be the featured soloist on the Lexington Philharmonic’s Feb. 4 concert, was sick and might not be able to sing. The orchestra needed a tenor in the wings. OK, Sojola thought. He knew the scheduled arias. »

18 Feb 2005

Le Figaro Profiles Valery Gergiev

Pas facile à coincer, Valery Gergiev. Le chef russe le plus charismatique de sa génération a voué sa vie au Kirov de Saint-Pétersbourg, dont il a fait l’un des théâtres lyriques les plus recherchés du monde. Mais il anime aussi trois festivals : les Nuits blanches de Saint-Pétersbourg, le Festival de Pâques de Moscou et celui de Mikkeli en Finlande. N’oublions pas non plus qu’il est directeur musical de l’Orchestre philharmonique de Rotterdam, premier chef invité du Metropolitan Opera de New York, et l’un des maestros préférés du Philharmonique de Vienne, qu’il dirige tant au Musikverein qu’au Festival de Salzbourg et en tournée. Avec un tel calendrier, guère de place pour des invitations à droite et à gauche, et s’il a fait récemment ses débuts aux «Proms» de Londres avec l’Orchestre symphonique de la BBC, c’était une exception dont on se demande si elle va se généraliser, donnant un nouveau tour à une carrière jusqu’ici focalisée sur quatre orchestres. »

17 Feb 2005

Marcello Viotti Has Died

BERLIN – Marcello Viotti, the music director of Venice’s famed La Fenice Theater who also conducted at New York’s Metropolitan Opera and other leading houses, died at a German hospital after falling into a coma. He was 50. Viotti died Wednesday night after being in a coma for several days at a clinic in Munich, Germany, his agent, Paul Steinhauser, said by telephone from Vienna, Austria. »

15 Feb 2005

L'Express Interviews Natalie Dessay

Il y a un miracle Natalie Dessay. Sa Reine de la Nuit (dans La Flûte enchantée, de Mozart) ou son Olympia (des Contes d’Hoffmann, d’Offenbach), irrésistibles de présence et de drôlerie, ont déjà marqué l’histoire de l’opéra. On se régale de sa présence sur scène, de son tempérament explosif, on admire sa voix de soprano léger à la virtuosité sans limites, et on respecte la femme, diva humble et sincère. On aime Natalie, on croit la connaître, mais elle reste un mystère. Après une saison triomphale, couronnée par un enregistrement (Amor, consacré à la musique de Richard Strauss, chez Virgin Classics) et une victoire de la musique, soudain, patatras! Comme il y a deux ans, une opération des cordes vocales oblige la chanteuse à annuler des représentations. Le doute et la peur viennent ébranler ce petit bout de femme d’ordinaire débordant d’énergie. Pourquoi? Natalie Dessay s’en explique ici »

11 Feb 2005

A Profile of Rolando Villazon

Rolando Villazon has the opera world on a string. The young Mexican tenor has just completed a fairy tale year, with acclaimed debuts at New York’s Metropolitan Opera, Covent Garden in London and the Staatsoper in Berlin. He released his first CD, a collection of Italian arias; several critics ranked it among the best classical recordings of 2004. And his face graced the covers of a number of opera periodicals. »

09 Feb 2005

Il Gazzettino Interviews Claudio Scimone

Maestro Scimone, cosa rappresenta per lei questo riconoscimento del consiglio regionale che la indica come come ambasciatore della cultura veneta nel mondo? «In un primo momento, oltre che commosso, sono rimasto anche un po’ stupito soprattutto considerando il libro d’oro molto ristretto di questo premio, assegnato sinora solo a un Patriarca di Venezia e a un eroe. Poi ho pensato che il significato di questa scelta del consiglio regionale è il riconoscere come sia importante per la nostra regione l’arte e la cultura che sono l’elemento di identificazione più importante del Veneto». »

06 Feb 2005

Roll Over Stockhausen

When did the music die? And why? It will be 30 years in August since the death of Dmitri Shostakovitch. Next year also marks the 30th anniversary of the death of Benjamin Britten. Aaron Copland, older than both of them, lived on until 1990 and Olivier Messiaen until 1992. But apart from these? I can see them already. The protestations on behalf of the half-forgotten and semi-famous, the advocates of Henze and Berio, the followers of Tavener and Adès. Perhaps there will be a good word for Golijov or Gubaidulina, for Piazzola or Saariaho (enthusiasms I share). And maybe, even now, there remains someone who believes that Stockhausen should be mentioned in the same breath as Bach, the last of the true believers clinging to the shipwreck of modernism. »

02 Feb 2005

Jirí Belohlávek Named to Head BBCSO

The BBC Symphony Orchestra confirmed yesterday that its new chief conductor from the first night of the 2006 Proms will be the Czech maestro Jirí Belohlávek. It was known two and a half years ago that Leonard Slatkin would be standing down from the job at the end of last season’s Proms, so the announcement about his successor has been a long time coming, but the welcome news of Belohlávek’s appointment is not a surprise. I floated him as the most likely choice in an article on these pages back in July last year. It was a hunch, but one based on a reasoned study of the form book, since he seemed to have precisely the qualities that the BBC should be looking for. »