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Elsewhere

Garsington Opera Announces Extended Season: 1 June to 30 July 2017

For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.

Glyndebourne Festival 2017: White Cube artist Rachel Kneebone to exhibit new work

New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

When Performance Gets Political: A Brooklyn Concert Benefiting the ACLU

What’s an artist’s place in politics? That’s the question many were asking after actress Meryl Streep made a pointed speech criticizing President Trump at the Golden Globes. Trump responded directly to Streep, using his preferred communication medium of Twitter to call Streep “overrated.”


OPERA TODAY ARCHIVES »

Commentary

26 Jan 2017

When Performance Gets Political: A Brooklyn Concert Benefiting the ACLU

What’s an artist’s place in politics? That’s the question many were asking after actress Meryl Streep made a pointed speech criticizing President Trump at the Golden Globes. Trump responded directly to Streep, using his preferred communication medium of Twitter to call Streep “overrated.” »

Recently in Commentary

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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. »