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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.  »

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23 May 2005

Die Zauberflöte at Glyndebourne

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth. »

22 May 2005

I Masnadieri at Liège, 21 May 2005

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers. »

22 May 2005

G&S at Opera Australia

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.” »

21 May 2005

Don Giovanni at Marseille

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about. »

21 May 2005

GOEHRING: Three modes of perception in Mozart — the philosophical, pastoral, and comic in Così fan tutte

According to the book jacket, this is the first major scholarly study of Così fan tutte, considered to be one of Mozart's least-understood operas and librettist Lorenzo Da Ponte's most interesting text.  »

20 May 2005

TRIBO: Annals 1847-1897 del Gran Teatre del Liceu

The importance of the Teatre del Liceu, can not be overstated. The house ranks with all the leading theatres of the world, being right up there with Paris, London, New York, Vienna, Madrid, Rome, Milan, Lisbon, St. Petersburg, Moscow, Turin, Naples, Buenos Aires, and other cities of comparable importance. During its long history (158 years at the time of writing) it featured many of the great singers. These include Caruso, Battistini, Tamagno, Ruffo, Caballe, Tebaldi, Mario, Pavarotti, Vignas, Lazaro, O'Sullivan, Stracciari, Pagliughi, Gayarre, Masini, Stagno, Lauri-Volpi, Bellincioni, and countless others. Quite a few of these who sang there before 1897 are represented on the accompanying disc. »

20 May 2005

MAY: Decoding Wagner — An Invitation to His World of Music Drama

Thomas May's stated goal in Decoding Wagner is indeed summarized in his subtitle, An Invitation to His Music Dramas. Mr. May offers an introduction to those who may seek a reliable yet succinct guide in their first Wagnerian experience; a further potential readership is seen among those who have attended performances of Wagner but who wish to expand their appreciation of the music dramas. In his chronological overview of Wagner's oeuvre from the mid-1830s until the close of his career May presents an approachable guide to appreciating the composer's operatic genius. As an illustration of May's commentary on the works, a generous selection of Wagner's music is included on two Discs that accompany the volume in a protective sleeve. »

20 May 2005

FAURÉ: The Complete Songs - 1 — Au bord de l’eau

The songs of Gabriel Fauré (1845-1924) are some of the finest works examples of the genre and they represent the mature French mélodie in the hands of a composer who knew both the voice and the piano quite well. This release is the first of four discs that include all of Fauré’s songs for voice and piano within Hyperion’s series of French Song editions. Like those other collections from Hyperion, this volume of the Fauré set involves excellent performers who know the literature well. »

20 May 2005

Susan Graham in Paris

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…» »

19 May 2005

Paul McCreesh Directs Bach's B Minor Mass

Paul McCreesh’s approach to Bach’s last major choral work is about as far removed as possible from traditional heavyweight performances of the B minor Mass, and distinctly different from the approach of many of his period-instrument peers as well. For this superbly energised account, the Gabrieli Consort consisted of just 10 singers, divided equally into a ripieno, which provided the soloists, and a consort, which joined in for the large-scale numbers. The orchestra was just over twice that size. This minimalist approach produced gains in equality between voices and orchestras, and marvellous clarity in the contrapuntal writing. It also enabled McCreesh to adopt tempi that would have had a larger choir tied in knots. »

19 May 2005

Der Ring at the Mariinsky

Hot on the heels of their marathon appearance at the Moscow Easter Festival, the artistic forces of St. Petersburg’s Mariinsky Theater are preparing for a return visit to Moscow. Starting Monday, they take to the main stage of the Bolshoi Theater with three evenings of ballet and a complete performance of Richard Wagner’s four-part operatic cycle “The Ring of the Nibelung.” »

19 May 2005

Britten's A Midsummer Night's Dream at COT

At first glance, Shakespeare’s “A Midsummer Night’s Dream’’ is a frothy tale, a story of youthful romance going charmingly awry. True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne’er did run smooth, and Shakespeare’s beleaguered lovers triumph in the end. »

18 May 2005

Sarah Connolly at Weill Hall

On Monday night at Weill Recital Hall—the lovely space upstairs at Carnegie—Sarah Connolly gave us one of the most satisfying events of the season. The English mezzo-soprano sang a diverse recital, offering Haydn, Brahms, Hahn, Korngold, and Weill (Weill at Weill!). This followed her debut at the Metropolitan Opera, as Annio in Mozart’s “Clemenza di Tito.” All in all, Ms. Connolly put in a very good month’s work in New York. »

18 May 2005

Lucio Silla at Wiener Festwochen

Nelle sue ultime dichiarazioni il nuovo sovrintendente della Scala Lissner ha spesso accennato, senza fare nomi, a cinque direttori d’orchestra, da lui ritenuti i migliori del mondo. Non siamo in grado di dire se Harnoncourt faccia parte di questa rosa, ma non esiteremmo ad affermare che nell’ambito dell’opera mozartiana il direttore austriaco abbia introdotto nuovi canoni interpretativi. Tra palco e buca, infatti, l’intesa è simbiosi. Il Concentus Musicus ha dimostrato di essere non solo ottimo complesso strumentale, ma anche eccelso apparato operistico. Harnoncourt dirige l’orchestra ascoltando le voci, senza mai coprirle, anzi assecondandone le virtù e sfocandone le debolezze, in un alternare continuo di livelli dinamici e sfumature timbriche. Tre ore e mezza di musica che non conoscono cali di tensione. »

17 May 2005

Verdi's I Masnadieri in Lüttich/Liège

Für Jean-Pierre Haeck war es eine gelungene Premiere. Für das Publikum war der Abend die Begegnung mit einem Höhepunkt des verdischen Belcanto, einer Oper, die zu unrecht ein wenig in Vergessenheit geraten ist. »

17 May 2005

Jenufa at El Liceu

El Liceu estrena esta noche Jenufa, una gran ópera del compositor checo Leos Janacek, con libreto de Gabriella Preissova, en una producción de la ópera de Hamburgo que se ha visto en el Covent Garden y el Metropolitan. »

17 May 2005

Cyrano at the Met

NEW YORK—There’s a line in Act 2 of Franco Alfano’s rarely heard opera “Cyrano de Bergerac” that marks a critical turning point in the sad story of a poet’s unrequited love: “The Tiger’s awakening.” It’s said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career. »

17 May 2005

BROWNE: Music from the Eton Choirbook

For more than a quarter century, Peter Phillips and the Tallis Scholars have achieved great distinction in the performance of sixteenth-century polyphony, bringing to that repertory interpretations of engaging directness, rhythmic vitality, and fullness of tone. These are qualities that are admirably well suited to the music of the Eton Choirbook and one of its most representative composers, John Browne, the subject of this recent recording. »

16 May 2005

Gheorghiu Sings Puccini at Festival Hall

This strange effort was billed as a Celebratory Gala Concert: Angela Gheorghiu Sings Puccini. Just what we were meant to be celebrating was unclear. But what we got was Gheorghiu singing eight Puccini arias, plus his Salve Regina, together with a couple of encores. »

16 May 2005

Der Rosenkavalier at the Wiener Staatsoper

Philippe Jordan leitete eine musikalische Neueinstudierung des “Rosenkavalier” mit Johan Botha als Überraschungsgast. Ganz auf kammermusikalische Finesse hatte Philippe Jordan diesen Strauss angelegt. Freilich führte er das makellos, mit kostbaren Soli aufspielende Staatsopernorchester meist so straff, dass selbst die Walzerpassagen sich selten zu brillantem Glanz aufschwangen. »

16 May 2005

Jeptha at ENO

Katie Mitchell’s staging of Handel’s last original oratorio was widely admired when presented by Welsh National Opera two years ago. Transported from Cardiff’s New Theatre to the Coliseum for English National Opera’s share of the production, whatever dramatic and musical force it had originally has been dissipated. That may be partly the result of the transfer to a much larger auditorium, but the real problems seem more deeply rooted in the production itself. »

13 May 2005

Premiere of Hildegard

I DON’T say that James Wood’s new opera about everyone’s favourite 12th-century abbess, Hildegard of Bingen, broke the Trade Descriptions Act. But I imagine that many Norfolk and Norwich Festival patrons, lured by the promise of “a spectacle of sound and light”, thought that they were going to get one of those grandiose cathedral son et lumière shows, with the voice of someone like Donald Sinden doing a lugubrious narration while stained-glass windows gently light up. »

13 May 2005

Rigoletto at the Mariinsky

Verdi’s “Rigoletto,” a long-standing audience favorite, received languid treatment from Italian director Walter Le Moli, whose interpretation of the opera premiered at the Mariinsky Theater on May 6 and 7. »

13 May 2005

Prokofiev at the Helikon

For its first new production since May of last year, Helikon Opera chose to honor the 60th anniversary of the end of World War II in Europe with the premiere last Saturday of “Fallen from the Sky,” a operatic pastiche based on two war-related works by Sergei Prokofiev. »