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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

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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. »

01 Feb 2005

Teresa Berganza — Two Interviews

Le coeur des amoureux de bel canto va battre plus fort, mardi soir au Théâtre des Champs-Élysées. La série «Les Grandes Voix» de Jean-Pierre Le Pavec accueille l’une des plus grandes dames de l’histoire de l’opéra au dernier demi-siècle. A un mois de son soixante-et-onzième anniversaire, Teresa Berganza précise qu’il ne faut pas espérer entendre le Chérubin ou la Rosine des années 50 : avec sa voix d’aujourd’hui, elle se consacre maintenant au récital, faisant la part belle au répertoire ibérique, qu’il soit espagnol (de Falla) ou argentin (Piazzolla). Mais elle a toujours la même discipline, la même élégance, le même pétillement : un petit bout de femme vif-argent et intarissable, qui vous donne l’impression qu’on s’est toujours connus. Rencontre avec une immense artiste, qui a participé à l’âge d’or de l’opéra. »

30 Jan 2005

Mozart Here, Mozart There, Mozart Everywhere

Mozart-Tage in Wien, Mozartwoche in Salzburg. Und das alles 2005, wo doch das Mozartjahr erst 2006 droht. Vor lauter Ankündigungen und Vorausschauen, was die Welt, was Österreich im Besonderen im Jubiläumsjahr an Plänen ventiliert, droht Mozarts Musik zur Nebensache zu werden. Das ist ihr Glück. Denn so bleibt sie, während wohlbestallte Koordinatoren und Intendanten über Aktionen von hoch bezahlten Kasperln diskutieren, doch die Hauptsache. »

28 Jan 2005

Encountering David Daniels

``I’m Tom Brady’s best friend,’’ joked David Daniels. ``I’m sure he’d love to read that!’’ OK, the world’s leading countertenor isn’t really Brady’s bud. ``But I did meet him,’’ Daniels continued. ``It was when I sang (Handel’s) `Messiah’ in Ann Arbor.’’ Brady was quarterback for the University of Michigan football team when Daniels, now 38, was a graduate student there. ``A lot of times the football players would come to concerts – they were always trying to enlighten them to the music world, arts and culture – and he came backstage and I got to shake his hand,’’ Daniels recalled. ``If you asked him, he might remember me as this guy who sang like a woman.’‘ »

28 Jan 2005

Denyce Graves Goes to the Treasure Coast

With a voice as strong and clear as the winter wind through the cherry trees, Denyce Graves sang for all America last week at President Bush’s inaugural ceremony. Graves, who was born and raised in Washington, D.C., is something of a musical emissary — she’s had the lead roles in opera houses all over the globe, and is considered one of the most dynamic mezzo-sopranos on the world stage. »

28 Jan 2005

Homage to Marian Anderson

Start buying pieces of fine art this week for 37 cents. The Marian Anderson first-class postage stamp, the 28th in the Black Heritage series, debuted Thursday in Washington, D.C. Richard Sheaff designed the stamp, which is based on an Albert Slark oil painting. Sheaff previously designed nine stamps that include Paul Robeson, Thurgood Marshall, Langston Hughes, Roy Wilkins and Patricia Harris. »

26 Jan 2005

Comparing Tebaldi and de los Angeles

According to popular legend, one great operatic soprano comes along every generation. The years directly following the end of World War II were singularly blessed with the emergence of no fewer than three great divas. The tempestuous and too-short life of Maria Callas, regarded by many as the greatest, ended in 1977. But her two greatest rivals lived into old age, by strange fate – the force of destiny? – dying within less than a month of each other. »

26 Jan 2005

Julia Jones Conducts at the Wiener Staatsoper

VIENNA, Jan. 23 -It was just eight years ago that the Vienna Philharmonic, which doubles as the orchestra of the Vienna State Opera, officially admitted the first woman to its august ranks. On Jan. 12, there were at least six in the pit for “Parsifal.” On the 13th, there was one in the pit for “Don Giovanni.” On Saturday, there was one at the head of the orchestra: Julia Jones, an English conductor who made her debut here in 2001, has conducted a number of times here since, and who led a robust “Così Fan Tutte” during the house’s second annual “Vienna Mozart Days” (which ends with a final “Nozze di Figaro” on Jan. 29). »

24 Jan 2005

Le Figaro Interviews Marc Minkovski

A 20 ans, Marc Minkovski fondait les Musiciens du Louvre et, très vite, imprimait sa sensibilité gourmande sur le répertoire baroque, puis sur des Offenbach qui ont fait mouche à Lyon, Grenoble et Paris. On se souvient d’un grand Couronnement de Poppée à Aix-en-Provence, d’un admirable Pelléas et Mélisande, salle Favart, pour le centenaire de l’oeuvre en 2002. A l’Opéra de Paris, Gérard Mortier en fait aujourd’hui un pilier de ce qui ne ressemble pas à de la sagesse : le voici aux commandes musicales d’une nouvelle Flûte enchantée venue du Festival de la Ruhr, et donnée en pâture au délirant groupe catalan La Fura del Baus. Le chef, lui, s’occupe surtout de Mozart. »

21 Jan 2005

John Eliot Gardiner Goes It Alone — Take Two

What is it that urges an eminent musician to spurn the mainstream record industry and set up on his own? Some orchestras have been doing it for quite a while, bypassing the major companies and releasing competitively priced discs of live performances that regularly lead the market and at the same time help to promote the orchestras’ image. Where the London Symphony Orchestra led the way in that field, Sir John Eliot Gardiner, who already has a formidable backlist of recordings to his credit, is now blazing a trail for the individual artist by launching his own label, Soli Deo Gloria, the first two albums of which have just gone on sale. »

21 Jan 2005

So Much For Einstein's Theory

For many years Wolfgang Amadeus Mozart’s operatic work Zaide was regarded as a fragment. More than an hour of music was preserved but that was only the arias. Originally they were linked by spoken text, none of which survived. The German musicologist and conductor Andreas Kroeper, who now lives in the Czech Republic, says he has found the missing text and has proved it belonged to Zaide. Mozart started to compose the two-act Singspiel, set in a Turkish harem — a popular setting at that time, some time around 1780 in Salzburg. The libretto, developing similar plots of the period, was written by the Salzburg court musician Johann Andreas Schachtner. But Mozart soon realised a serious piece like that would not go down well with the Viennese audience whose tastes had turned to comic operas. »

18 Jan 2005

More Than 2,000 Say Goodbye to Victoria de los Ángeles

The coffin of Spanish Victoria de los Angeles, a distinctive soprano who sang most of the great lyric roles in most of the world’s opera houses, is placed inside the cathedral Nostra Senora del Mar during her funeral in Barcelona, January 17, 2005. Victoria de los Angeles died in hospital on Saturday at the age of 81. »

18 Jan 2005

Fidelio at the Lyric Opera of Chicago

Among history’s crowded pantheon of tormented genius-artists, Beethoven holds an honored spot. Often he composed quickly and with little apparent struggle. But he was no Mozart, who typically composed with a facility and speed that some music scholars have described as “taking dictation from God.” Beethoven filled sketchbooks with musical fragments, doggedly reworking and refining them like a miner scratching for diamonds in a black-walled shaft. With his wild hair, scowling gaze, deafness—a particularly cruel infirmity for a musician—and volcanic temper, he is the very model of a modern angst-ridden artist. »

18 Jan 2005

Mozart's Mass in C Minor Completed

Mozart left comparatively few major (or potentially major) works unfinished, and while it may seem daunting – presumptious even – for another musician to complete these scores, the lure of making an incomplete work whole is clearly too great to resist. Can the results ever be more than hyphenated Mozart? Probably not. A musicologist steeped in Mozart’s musical moves may project what the composer might have done at any point in a work, based on what he did in similar scores, and the completion may sound thoroughly Mozartean. But Mozart often came up with solutions that are completely surprising. Part of what made him Mozart – in fact, part of what makes any great composer great – is unpredictability. »

17 Jan 2005

Le Monde on Victoria de Los Angeles

Elle s’en est allée rejoindre les anges, dont elle portait si bien le nom. Victoria de Los Angeles s’est éteinte samedi 15 janvier, à l’âge de 81 ans, à la clinique Teknon de Barcelone, où elle avait été hospitalisée, à la suite de troubles cardio-pulmonaires, le 31 décembre 2004. Née le 1er novembre 1923 dans la capitale catalane, Victoria Gómez Cima (ou Garcia Lopez), dite Victoria de Los Angeles, avait grandi dans une Espagne meurtrie par les guerres. La fille du concierge de l’université, qui travaillait sa voix dans les salles de cours vides, avait conquis le monde de l’opéra dès 1947 en remportant le grand Concours international de Genève, qui lui valut de débuter l’année suivante à la BBC dans le rôle de Salud de La Vie brève de De Falla. »