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Elsewhere

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Kathleen Ferrier Awards, Wigmore Hall

Kathleen Ferrier may have been one of the world’s finest contraltos but this year’s Kathleen Ferrier Awards Final, held at the Wigmore Hall, was all about lyric sopranos.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

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.


OPERA TODAY ARCHIVES »

Commentary

Lise Lindstrom [Photo courtesy of San Diego Opera]
01 May 2015

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.  »

Recently in Commentary

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

An Interview With Michael Maniaci

Michael Maniaci has a fight on his hands. In the world of baroque opera he’s a young singer who seems to have it all: he’s intelligent, immensely talented, well-trained, committed and surprisingly wise for his 29 years. On top of that he’s already been successful in the USA winning prestigious competitions, and recently gaining significant roles at such proving grounds as Glimmerglass, New York City Opera and Santa Fe. »

10 Apr 2005

Thinking About Wagner

THERE are moments in “Die Walküre,” Wagner’s most humane opera, that never fail to dissolve me, even though I know they are coming. One occurs fairly early in the first act. »

07 Apr 2005

Le Figaro Interviews Peter Sellars

C’est l’événement lyrique de l’année à Paris. L’oeuvre, d’abord : le Tristan et Isolde de Wagner, véritable opéra impossible, monument visionnaire où tout est tourné vers l’intériorité, a toujours fasciné. La distribution, ensuite : Ben Heppner et Waltraud Meier sont tout simplement les plus grands. L’équipe artistique, enfin. Le chef finlandais Esa-Pekka Salonen, pour ses débuts à l’Opéra de Paris et son premier Tristan, retrouvera le metteur en scène Peter Sellars, dont la conception scénique s’appuiera sur l’univers visuel du vidéaste Bill Viola. L’occasion d’interroger Sellars sur sa vision de l’oeuvre : surpris en pleine répétition d’orchestre (il y assiste car pour lui la mise en scène procède de la musique), il nous répond avec une générosité, un sens de l’humain, une intelligence pédagogique qui font de lui un être d’exception. »

01 Apr 2005

Merkur Interviews Lawrence Zazzo

Als Nachwuchshoffnung wird der amerikanische Countertenor Lawrence Zazzo weltweit gehandelt. Sein Münchner Debüt ist also fällig. In der Wiederaufnahme der bereits 1997 bejubelten Inszenierung von Claudio Monteverdis “L’incoronazione di Poppea” der Bayerischen Staatsoper – unter der Regie von David Alden und der musikalischen Leitung von Harry Bicket – ist er nun als Ottone zu sehen. »

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. »