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René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

John Taverner: Missa Corona spinea

This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

THOMAS: Hamlet, Moscow 2015

Hamlet: Opéra in five acts. Music composed by Ambroise Thomas. Libretto by Michel Carré and Jules Barbier after The Tragedy of Hamlet, Prince of Denmark by William Shakespeare.



Atsuto Sawakami
20 Oct 2015

Atsuto Sawakami — Sponsor of Italian Opera in Japan

Atsuto Sawakami is a slightly built man in his late sixties with impeccable, gentlemanly manners. He communicates a certain restless energy and his piercingly bright eyes reveal an undimmed appetite for life. »

Recently in Commentary

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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. »

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). »