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Elsewhere

Glyndebourne’s first production of Dialogues des Carmélites to open Glyndebourne Festival 2020

Glyndebourne’s first production of Poulenc’s Dialogues des Carmélites will open Glyndebourne Festival 2020, it was announced today. The opera house unveiled its 2020 plans at an event in its recently built Production Hub, hosted by Glyndebourne’s new senior leadership team, Artistic Director Stephen Langridge and Managing Director Sarah Hopwood, who jointly replace the former position of General Director.

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Garsington Opera Announces 2020 season and 2019 Paris Performance

Garsington Opera is delighted to announce the 2020 season that will open on 28 May, featuring three new productions - Verdi’s Un giorno di regno, Mozart’s Mitridate, re di Ponto, Dvořák’s Rusalka and a revival of John Cox’s legendary production of Beethoven’s Fidelio.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

David McVicar's Andrea Chénier returns to Covent Garden

Is Umberto’s Giordano’s Andrea Chenier a verismo opera? Certainly, he is often grouped with Mascagni, Cilea, Leoncavallo and Puccini as a representative of this ‘school’. And, the composer described his 1876 opera as a dramma de ambiente storico.

Glyndebourne presents Richard Jones's new staging of La damnation de Faust

Oratorio? Opera? Cantata? A debate about the genre to which Berlioz’s ‘dramatic legend’, La damnation de Faust, should be assigned could never be ‘resolved’.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Hampstead Garden Opera presents Partenope-on-sea

“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.

Henze's Phaedra: Linbury Theatre, ROH

A song of love and death, loss and renewal. Opera was born from the ambition of Renaissance humanists to recreate the oratorical and cathartic power of Greek tragedy, so it is no surprise that Greek myths have captivated composers of opera, past and present, offering as they do an opportunity to engage with the essential human questions in contexts removed from both the sacred and the mundane.

Un ballo in maschera at Investec Opera Holland Park: in conversation with Alison Langer

“Sop. Page, attendant on the King.” So, reads a typical character description of the loyal page Oscar, whose actions, in Verdi’s Un ballo in maschera, unintentionally lead to his monarch’s death. He reveals the costume that King Gustavo is wearing at the masked ball, thus enabling the monarch’s secretary, Anckarstroem, to shoot him. The dying King falls into the faithful Oscar’s arms.

Martin Duncan directs the first UK staging of Offenbach's Fantasio at Garsington

A mournful Princess forced by her father into an arranged marriage. A Prince who laments that no-one loves him for himself, and so exchanges places with his aide-de-camp. A melancholy dreamer who dons a deceased jester’s motley and finds himself imprisoned for impertinence.

Thomas Larcher's The Hunting Gun at the Aldeburgh Festival: in conversation with Peter Schöne

‘Aloneness’ does not immediately seem a likely or fruitful subject for an opera. But, loneliness and isolation - an individual’s inner sphere, which no other human can truly know or enter - are at the core of Yasushi Inoue’s creative expression.

Actress x Stockhausen Sin {x} II - a world premiere

Is it in any sense aspirational to imitate - or even to try to create something original - based on one of Stockhausen’s works? This was a question I tried to grapple with at the world premiere of Actress x Stockhausen Sin {x} II.

The London Handel Festival and The Royal Opera announce a co-production of Handel’s Susanna starring members of The Royal Opera’s Jette Parker Young Artists Programme

The London Handel Festival and The Royal Opera today [14 May 2019] announced a co-production of Handel’s oratorio Susanna as part of the 2020 London Handel Festival. The new production, performed in English in the Linbury Theatre [5 - 14 March 2020], will star members and Link Artists from The Royal Opera’s Jette Parker Young Artists Programme. Handel’s Susanna was written for Covent Garden and had its premiere on the site in 1749, but has not been performed at Covent Garden since.

Royal Opera House announces 17 new productions for its 2019/20 Season

The Royal Opera House today launches its 2019/20 Season, unveiling an exciting range of new commissions, world premieres and much-loved revivals, supported by a diverse range of ticketed and free daytime events, activities and festivals for people of all ages. In the first full Season since the completion of the Royal Opera House’s three-year Open Up renovation, The Royal Opera Company unveils a host of innovative new work, with 13 new productions, including two world premieres, in the Season ahead.

The BBC Singers and the Academy of Ancient Music join forces for Handel's Israel in Egypt

The biblical account of the Exodus of the Israelites from Egypt is the defining event of Jewish history. By contrast, Handel’s oratorio Israel in Egypt has struggled to find its ‘identity’, hampered as it is by what might be termed the ‘Part 1 conundrum’, and the oratorio has not - despite its repute and the scholarly respect bestowed upon it - consistently or fully satisfied audiences, historic or modern.

Measha Brueggergosman: The Art of Song – Ravel to John Cage

A rather charming story recently appeared in the USA of a nine-year old boy who, at a concert given by Boston’s Handel and Haydn Society, let out a very audible “wow” at the end of Mozart’s Masonic Funeral Music. I mention this only because music – whether you are neurotypical or not – leads to people, of any age, expressing themselves in concerts relative to the extraordinary power of the music they hear. Measha Brueggergosman’s recital very much had the “wow” factor, and on many distinct levels.

In interview with Polly Graham, Artistic Director of Longborough Festival Opera

What links Wagner’s Das Rheingold, Donizetti’s Anna Bolena, Mozart’s Don Giovanni and Cavalli’s La Calisto? It sounds like the sort of question Paul Gambaccini might pose to contestants on BBC Radio 4’s music quiz, Counterpoint.

World premiere of Cecilia McDowall's Da Vinci Requiem

The quincentennial of the death Leonardo da Vinci is one of the major events this year – though it doesn’t noticeably seem to be acknowledged in new music being written for this.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.


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Reviews

24 May 2019

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.  »

Recently in Reviews

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30 May 2005

Falstaff in LA

LOS ANGELES, May 29 – Portraying the title role of Verdi’s “Falstaff,” which opened at the Los Angeles Opera on Saturday, the bass-baritone Bryn Terfel is so irascible, nimble on his feet and altogether charming that he almost makes you forget how splendidly he sings the music. Yes, this Falstaff is a blowhard, a bald and broken-down knight, and a shameless moocher. »

29 May 2005

Mozart and Gluck in London

Did Mozart really think Cosi Fan Tutte was a comedy? Matthew Warchus didn’t seem sure when he created his ENO staging three years ago; but, even if Steven Stead’s revival doesn’t milk every gag in Jeremy Sams’ wonderfully witty translation of Da Ponte’s libretto, there are enough laughs to make you think he might have done. »

29 May 2005

Voigt and Heppner at Cincinnati's May Festival

Friday will go down in the annals as one of the most spectacular opera evenings ever at the May Festival. Two of the world’s greatest Wagnerian singers, soprano Deborah Voigt and tenor Ben Heppner, came together for the first time in Act II of “Tristan und Isolde,” a concert performance under the baton of James Conlon in Music Hall. It was one of those rare moments of music making that one feels lucky to witness, and the hall erupted in cheers for nearly 10 minutes at its conclusion. »

29 May 2005

TCHAIKOVSKY: Eugene Onegin

Recently released by TDK, this version of a Tchaikovsky classic was recorded at the Bolshoi Theater in October 2000. Directed by Boris Pokrovsky and conducted by Mark Ermler, the production features Maria Gavrilova as Tatiana, Nikolai Baskov as Lensky, Vladimir Redkin as Onegin, Yelena Novak as Olga, and Aik Martirosyan as Gremin. It is very much a live recording, complete with curtain calls and screaming fans who cheer their favorites after practically every number (to the performers’ credit, there are no encores!). »

28 May 2005

BELLINI: I Puritani

Bellini’s last opera has had its share of classic performances on stage and in studio, but it has not truly challenged the prominence of the reigning work of this bel canto master, Norma. The Druid princess remains such an attraction both for sopranos who aspire to greatness and to audiences who relish its dramatic power that it alone of all Bellini’s works maintains a firm position in the standard repertory. »

27 May 2005

Arabella at Châtelet

Il y a trois ans, l’Arabella de Richard Strauss mise en scène par Peter Mussbach avait été l’un des points culminants de la saison du Châtelet, mais avait divisé les esprits : certains avaient taxé de froideur le décor étonnant d’Erich Wonder, regrettant sans doute le rococo viennois. C’était oublier que le livret, laissé inachevé par Hofmannsthal, mort d’une apoplexie alors qu’il mettait son chapeau pour se rendre à l’enterrement de son fils, n’a strictement plus rien des stucs du Chevalier à la rose, mais éclaire avec cruauté le monde moderne des années 20 et sa décomposition sociale. Tout cela, ce hall de grand magasin avec ses escalators à l’endroit et à l’envers, le dit aussi bien que des personnages dont le rang social s’effrite sous l’assaut des névroses. Non seulement le spectacle n’a pas vieilli, mais il a gagné en concentration. »

27 May 2005

Fisting Macbeth in Frankfurt

It doesn’t matter who sings what. At some point, someone’s fist is up someone else’s rectum. Some of us were not even sure this was anatomically possible until the nihilistic Catalan director Calixto Bieito took up opera. Now it’s routine. »

27 May 2005

PURCELL: Dido and Aeneas and The Masque of Cupid and Bacchus
GAILLIARD: Pan and Syrinx

This 2-disc recording contains three mid-Baroque English operas, two of them by Purcell. Dido and Aeneas is the well-known ancient Greek story of the widowed Carthaginian queen Dido and her doomed love for the wandering Aeneas, with its most famous aria built on a descending ground bass. The Masque of Cupid and Bacchus is a light-hearted comparison of the joys of love and drunkenness. Pan and Syrinx is a through-sung, one-act English opera on an original text by Lewis Theobald. It premiered at London’s Lincoln’s Inns Fields Theatre in 1718. London’s opera scene was dominated by Italian opera at this time, and it was very successful as an English-language opera. It is the story of the woodland god Pan, who falls for a cold-hearted nymph named Syrinx. Typical of maidens who are about to be ravished when they don’t want to be, Syrinx calls to the gods as Pan attempts to grab her, and she is transformed into a bunch of reeds, from which Pan makes his panpipe, in order to sing her eternal praise and lament her death. »

27 May 2005

Die Zauberflöte at Baden-Baden

In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile. »

26 May 2005

MOZART: Lucio Silla

In December 1772, Mozart completed Lucio Silla on commission for Milan’s Teatro Regio Ducale — his second opera for Milan, after Mitridate. This opera seria is placed in ancient Rome, where Lucio Silla is the absolute dictator. Silla wishes to marry Giunia, the wife of the Roman senator Cecilio, whom he had exiled. After an attempt to assassinate Silla is thwarted, Cecilio is condemned to die. Silla eventually renounces the dictatorship, pardons Cecilio, frees all political prisoners, and gives freedom to the Roman people. »

26 May 2005

Rigoletto at Teatro de la Ciudad

Por primera vez en México y con una producción fastuosa como se ha presentado en Nueva York se presentará en el Teatro de la Ciudad la ópera “Rigoletto” de Giuseppe Verdi. »

26 May 2005

Rigoletto in St. Louis

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park. »

25 May 2005

BACH: Cantatas, Vol. 14 & 15

These two sets of three CDs each are the current installment in Ton Koopman’s monumental complete cycle of J.S. Bach’s cantatas, performed by the Amsterdam Baroque Orchestra and Choir, and produced by his wife, Tini Mathot. The cycle started out in 1995 on the Erato label, but only twelve volumes had been published when Erato was disbanded by its parent company, Time Warner. After searching for another label that would take over his cycle project, Koopman finally applied for a loan and started his own label, Antoine Marchand, which is distributed by Challenge Classics and Allegro. Koopman’s cycle has loosely followed Bach’s original chronological order of performance for the volumes appearing so far (vol. 1-13.) Appearing after a gap of two years since vol. 13, the current two volumes cover cantatas from Bach’s second to third yearly cycles of cantatas for Leipzig (chorale cantatas.) »

24 May 2005

Teresa Berganza: The Spanish Soul

Brilliant Classics’ Teresa Berganza: The Spanish Soul is an outstanding compilation of Spanish songs and cycles by prolific Spanish and Latin American composers, including de Falla, Granados, Turina, Guridi, Toldra, Villa-Lobos, Braga, and Guastavino. The very beauty of this recording is the innate sense of energy in the Spanish style, which both Berganza and pianist Juan Antonio Alvarez Parejo seem to execute effortlessly. Once more, such an extensive collection of well-known compositions alongside rare jewels creates an essential recording. »

24 May 2005

Ivan Kozlovsky: The Great Russian Tenor

This new release from Pearl presents an anthology of Russian selections, primarily operatic, performed by tenor Ivan Kozlovsky (1900-1993). Kozlovsky was one of the giants of the Russian operatic stage during its glory days in the 1940s and 50s; he recorded extensively with Melodiya, both Russian and Western repertoire. Surprisingly, however, there has apparently never been a Kozlovsky Russian anthology available prior to this release (Myto Records released a collection of the singer’s Western operatic hits in 2000). It is gratifying to see it finally here. »

24 May 2005

Arie del ‘700 Italiano (Italian arias of the 18th century)

Featuring nine arias from various eighteenth-century operas and composers, this recording contains a wide variety of dramatic songs, three of which are the recitative and aria “Se cerca, se dice: “I’amico dov’e?” and “Ha keres, ha kerdez: a baratom hol van?” from the opera L’Olimpiade, set by three different composers. Accompanied on period instruments by the Savaria Baroque Orchestra, Monica González does a magnificent job with each of the arias on this disc. She is a former winner of the International “Toti dal Monte” singing competition, and has studied by personal invitation with Dame Joan Sutherland and Richard Bonynge at their home in Montreaux. »

24 May 2005

ADAM: Si J’etais Roi
LEHÁR: Rose de Noël

Accord has gone back to the vaults for an attractively packaged series called “Opérette.” On the evidence of two of the sets, these releases feature recordings made in the late 1950s and early ‘60s. The booklets are entirely in French (and offer no librettos whatsoever), but even a French-challenged persons such as your reviewer can understand the inside front cover, which appears to explain that the recordings are the efforts of “L’Academie Nationale de l’Opérette.” This organization appears to have as its rationale — all right, raison d’etre — the preservation, if not resuscitation, of the great French tradition of light musical entertainments. With bold, bright colors decorating the packaging, the sets come across as delectable candy boxes — but how much sweetness one will enjoy when partaking of the series does depend on a taste for the bouncy, frivolous world of operetta. »

23 May 2005

DONIZETTI: Maria Stuarda

One of the more interesting debates in arts politics in England last century centered on the language in which operas should be performed. While some staunchly favored opera in the original, others maintained that librettos should be translated into the vernacular. The latter side felt strongly that opera in English would nurture a national style of operatic presentation; a more chauvinistic argument suggested that if native composers heard opera in English, they would be more likely to attempt to set original English librettos (which, of course, would come from the pens of similarly inspired writers). Benjamin Britten and W.H. Auden’s Peter Grimes (1945) might be interpreted as representative of such a strategy. In addition, the mounting of vernacular performances also would inspire British performers (and discourage foreign singers who would be less likely to want to relearn a role in a new language). The debate eventually led to the division of operatic labor, with Covent Garden (soon to be renamed The Royal Opera) to perform works in their original languages and Sadler’s Wells (renamed the English National Opera after its move to the Coliseum, where it remains today) to produce works in translation. Thus, it was left up to audiences to decide which they preferred—or, better yet, to enjoy them both. »

23 May 2005

Geistliche arien des norddeutschen Barock (Sacred Baroque arias from North Germany)

This disc features nine compositions by eight composers located in the area of northern Germany from the sixteenth to the early seventeenth centuries. Despite the title, this recording presents sets of sacred compositions for soprano voice and instruments separated by purely instrumental pieces. The disc begins and ends with compositions by Christian Geist (ca. 1640-1711); otherwise, there is a variety of composers and compositions represented here. »

23 May 2005

La Cenerentola at Glyndebourne

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there. »