![<em>Medea</em> by Anthony Frederick Augustus Sandys (painted 1866-68) [Source: Wikipedia]](http://www.operatoday.com/Medea-Sandys.png)
04 Nov 2019
Giovanni Pacini: Medea
Medea: Melodramma tragico in three acts. »
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Elsewhere
Twilight People: Andreas Scholl and Tamar Halperin at Wigmore Hall
Twilight people: existing betwixt and between states, slipping the bounds of categorisation, on the edge of the norm.
A French Affair: La Nuova Musica at Wigmore Hall
A French Affair, as this programme was called, was a promising concept on paper, but despite handsomely sung contributions from the featured soloists and much energetic direction from David Bates, it never quite translated into a wholly satisfying evening’s performance.
Eugene Onegin at Seattle
Passion! Pain! Poetry! (but hold the irony . . .)
Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė
Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.
Pow! Zap! Zowie! Wowie! -or- Arthur, King of Long Beach
If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.
Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall
How do you like your Schubert? Let me count the ways …
Crebassa and Say: Impressionism and Power at Wigmore Hall
On paper this seemed a fascinating recital, but as I was traveling to the Wigmore Hall it occurred to me this might be a clash of two great artists. Both Marianne Crebassa and Fazil Say can be mercurial performers and both can bring such unique creativity to what they do one thought they might simply diverge. In the event, what happened was quite remarkable.
'Songs of Longing and Exile': Stile Antico at LSO St Luke's
Baroque at the Edge describes itself as the ‘no rules’ Baroque festival. It invites ‘leading musicians from all backgrounds to take the music of the Baroque and see where it leads them’.
Richard Jones' La bohème returns to Covent Garden
Richard Jones' production of Puccini's La bohème is back at the Royal Opera House, Covent Garden after its debut in 2017/18. The opening night, 10th January 2020, featured the first of two casts though soprano Sonya Yoncheva, who was due to sing Mimì, had to drop out owing to illness, and was replaced at short notice by Simona Mihai who had sung the role in the original run and is due to sing Musetta later in this run.
Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato
“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.
Vaughan Williams Symphonies 3 & 4 from Hyperion
Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.
Don Giovanni at Lyric Opera of Chicago
Mozart’s Don Giovanni returned to Lyric Opera of Chicago in the Robert Falls updating of the opera to the 1930s. The universality of Mozart’s score proves its adaptability to manifold settings, and this production featured several outstanding, individual performances.
Britten and Dowland: lutes, losses and laments at Wigmore Hall
'Of chord and cassiawood is the lute compounded;/ Within it lie ancient melodies'.
Tara Erraught sings Loewe, Mahler and Hamilton Harty at Wigmore Hall
During those ‘in-between’ days following Christmas and before New Year, the capital’s cultural institutions continue to offer fare both festive and more formal.
Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig
This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.
Retrospect Opera's new recording of Ethel Smyth's Fête Galante
Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.
A compelling new recording of Bruckner's early Requiem
The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.
Prayer of the Heart: Gesualdo Six and the Brodsky Quartet
Robust carol-singing, reindeer-related muzak tinkling through department stores, and light-hearted festive-fare offered by the nation’s choral societies may dominate the musical agenda during the month of December, but at Kings Place on Friday evening Gesualdo Six and the Brodsky Quartet eschewed babes-in-mangers and ding-donging carillons for an altogether more sedate and spiritual ninety minutes of reflection and ‘musical prayer’.
The New Season at the New National Theatre, Tokyo
Professional opera in Japan is roughly a century old. When the Italian director and choreographer Giovanni Vittorio Rosi (1867-1940) mounted a production of Cavalleria Rusticana in Italian in Tokyo in 1917, with Japanese singers, he brought a period of timid experimentation and occasional student performances to an end.
Handel's Messiah at the Royal Albert Hall
For those of us who live in a metropolitan bubble, where performances of Handel's Messiah by small professional ensembles are common, it is easy to forget that for many people, Handel's masterpiece remains a large-scale choral work. My own experiences of Messiah include singing the work in a choir of 150 at the Royal Albert Hall, and the venue's tradition of performing the work annually dates back to the 19th century.