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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.


OPERA TODAY ARCHIVES »

Reviews

26 Jan 2020

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. »

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08 Jul 2005

STRAUSS: The Complete Songs, Vol. 1

Among the best-known works of Richard Strauss is his set of Vier letzte Lieder, the so-called four “last” songs. These are just a fraction of the music he composed in this genre, with over 200 songs for voice and piano, and around fifty of them arranged with orchestral accompaniment. The prospect of a new series of complete songs is promising, and it should augment the various recorded selections of his Lieder that are currently available. »

07 Jul 2005

Vanessa at Central City

Central City – Perhaps because of its home in a small, historic mining town far from the two coasts, Central City Opera has long championed American opera. »

07 Jul 2005

Lucie de Lammermoor at Glimmerglass

There is one splendid reason to see Gaetano Donizetti’s “Lucie de Lammermoor” at Glimmerglass Opera this season, and her name is Sarah Coburn. »

07 Jul 2005

BRITTEN: Folk Song Arrangements

Britten’s folksong arrangements, which span much of his career from 1943 to 1976, provide unique insights into the composer’s oeuvre. Having been strongly encouraged by his teacher, Frank Bridge, to at all times be true to himself and to develop his own voice, one might expect Britten to eschew the folksong tradition, which had been so used (and misused?) by the generation before him. But Britten, following more in the line of Grainger than Vaughan Williams, voiced his distinctive style in these arrangements with appealing results. Sometimes making merely subtle changes and the simplest of accompaniments, Britten’s arrangements display artistic grace and sensitivity that has made them some of the most beloved choices of singers and audiences alike. »

06 Jul 2005

HÄNDEL: Admetus, King of Thessaly

Handel's Admeto premiered in London in 1727 at the King's Theater and was an unambiguous critical and popular success. It had an initial run of nineteen performances between January 31 and April 18 of 1727, each of which was attended by King George I.  »

06 Jul 2005

Mitridate, re di Ponto at Covent Garden

I can only dimly imagine how this singular and arresting production was first greeted at Covent Garden back in 1991. To this newcomer’s eye it is still both amazingly original in its design and concept, and yet also oddly frustrating. Essentially, director Graham Vick and designer Paul Brown and their team created a world, half historic, half fantastic, and one is left with a visual memory replete with starkly simple blood-red sets, kaleidoscopically coloured bizarrely shaped costumes and arrowed shafts of silver light, almost painfully reflecting from armoured breastplates. The time is about 65 BC and the world is one of an old Asia Minor versus a rising Rome, with an ageing King Mitridate fighting off both martial and sexual invasions of his territories. The heavy, stylised, costumes — extravagant to the point of caricature — are in themselves a theatrical tool that both enable and yet also constrain the drama of this young Mozart’s early work. If the singers were disadvantaged physically by what they were wearing, they didn’t seem to show it — although to be fair none had to move at anything more than a dignified pace. It was the supporting actors/dancers, Kabuki-like, who supplied the human activity — including a memorable “a capella” rhythmic foot-stamping war-interlude. All other dramatic extremes — be it fevered love declaration, jealous rage or elegant death — was conducted in an almost balletic minimalism of physical effort. »

06 Jul 2005

HURWITZ: Getting the Most Out of Mozart: The Vocal Works

The investment of money, not to mention time, to listen carefully to a complete opera can be intimidating for some uninitiated listeners. After all, operas can be quite long and — with all that strange singing in a foreign language — could be incomprehensible, and therefore less than enjoyable. Opera still carries the cachet in our culture of being the pastime of the wealthy, the educated, and the elite. References to opera in popular culture, such as ads or music videos, signify a different world of privilege and exclusion. »

06 Jul 2005

ZELENKA: Die Responsorien zum Karfreitag
TUMA: Sonatas in A minor & E minor; Sinfornia in B major

In the Baroque era, the liturgical intensity of Holy Week and the affective richness of its themes would find a powerful echo in the music of various European chapels. Old-fashioned counterpoint on antique models would solemnify the sound, while the expressive harmonic freedoms of the day would bring the affective sense of words and themes into sharp focus. This dual path is much in evidence in the Responsories for Good Friday by Jan Dismas Zelenka, recorded here by the Czech ensembles, Boni pueri and Musica Florea. »

05 Jul 2005

La Bohème in Zurich — Two Reviews

Giacomo Puccini’s “La Boheme” is really a winter piece. It is the cold and the dark that draw seamstress Mimi together with poet Rodolfo. Christmas in Cafe Momus brings the illusion of warmth, though not even the spring of the last act can take the chill from dying Mimi’s hands. »

05 Jul 2005

Giulio Cesare at Glyndebourne — Four Reviews

LEWES, England, July 3 – Glyndebourne’s achievements are too various for one to speak of a company style, but there is certainly a Glyndebourne scent: of excellence and elegance, of singers and musicians enjoying at once the freedom gained by thorough rehearsal and the intimacy of a small, warm house. And its waft is strong, luxurious and exciting around the new production of Handel’s “Giulio Cesare,” which opened on Sunday afternoon. »

04 Jul 2005

Turandot at Santa Fe

The Santa Fe Opera waited almost 50 years to mount Puccini’s final opera, Turandot—a warhorse of a work full of color and pageantry, and a heart-breaking love story. Puccini died before he could finish the work, whose story comes from myth and fable. »

04 Jul 2005

THOMAS: Aesthetics of Opera in the Ancien Régime, 1647-1785

Contrary to what one might expect from its title, Downing A. Thomas' book on Aesthetics of Opera in the Ancien Régime is not a comprehensive historical treatment of the subject. Instead, the chapters — which seem to have been drawn from separate articles or other studies — cover a wide range of topics, but are successfully drawn together through a view of aesthetics from a pre-nineteenth-century vantage point; according to Thomas, discussions of aesthetics from the time of the ancien régime "rose out of the many developments in medicine and philosophy ... in relation to questions of sensibility, sympathy, and taste" (p. 323). Cultural and aesthetic issues of the day centered on "the experience of passion, of intersubjective feeling, and of pleasure" (p. 323). Thomas' work rests on extensive studies of philosophical and theoretical writings from the seventeenth and eighteenth centuries, but it also shows a broad knowledge of present-day analytical approaches and musical and cultural studies. Thomas uses this broad range of sources to argue for the importance of opera as an influence on — and a reflection of — French culture and thought during the ancien régime. The author identifies two basic assumptions that lie behind the varied studies in the book: "First, ... individual operas not only display traces of the aesthetic and ideological circumstances of their creation, but ... they also engage productively in those circumstances. Second, ... opera came to serve as a touchstone in the eighteenth century for understanding the mechanisms behind human feeling and for reflecting upon how emotion impacts social relations." »

03 Jul 2005

FLECHA: Ensaladas

This is a recording that makes a full meal of various salads: in this case, several ensaladas by the Spanish composer most associated with the form, Mateo Flecha, the elder (?1481-1553). Ensaladas toss together different languages and verbal quotations (sometimes musical quotation, as well) in a quodlibet that promotes an appealing sense of variety within the unified frame of their textual themes. »

03 Jul 2005

Claudio Abbado: Hearing the Silence — Sketches for a Portrait

Five minutes into this DVD there has been a lot of talk on Abbado’s aura, his aristocratic reserve and the fact that he is a private thinker. With a deep sigh I was reminded of some of those dreadful documentaries on Arte (a German-French arts channel which I have on cable) that have promising titles and then soon lose themselves in a lot of philosophical treatises without any real content. And what was almost the last image of this documentary?: “In collaboration with Arte” »

03 Jul 2005

Gerhard Hüsch Sings Die schöne Müllerin & An die ferne Geliebte

With a masterpiece like Schubert’s Die schöne Müllerin, each generation of singers seems to rediscover the music and make the work its own. The nature of music almost demands that performers arrive at their own approaches, and the resulting differences offer insights into the way the music works and, perhaps, on how perception functions. With something as familiar as Die schöne Müllerin, it is possible to gain some perspective by listening to the way a singers of earlier generations performed the work to sample it, just as aficionados appreciate wine at vertical tastings. By approaching the music in this manner, it is possible to put the differences in perspective by using the nuances as points of reference where interpretations diverge. »

02 Jul 2005

SCHUBERT: Die Schöne Müllerin

An important thing to realize about this DVD is that it is not so much about Die Schöne Müllerin as about the performers, pianist András Schiff and especially baritone Dietrich Fischer-Dieskau. There are no liner notes about the song cycle itself, and if you want to see texts or translations you watch them go by as subtitles during the performance (you may choose German, English, French, Spanish, Italian, or none.). But, since the cycle is quite well-known, largely through the earlier recordings by Fischer-Dieskau with other collaborators, this omission is not grave enough to detract from the real focus of the DVD: to make publicly available a 1991 performance at the Feldkirch Schubertiade, in which two Schubertiade regulars, Fischer-Dieskau and Schiff, performed together for the first time. The record of the performance is doubly significant because, while Fischer-Dieskau earlier in his career had been one of the preeminent performers of Die Schöne Müllerin, he had not performed it since 1971, and he was to retire from public performance two years later. »

02 Jul 2005

A Review of Kupfer's Production of Der fliegende Holländer

When I was young, my father said: Don’t judge others before hearing them through, listen before interrupting. His advice applies so well to Wagnerian opera, with its potential for diverse interpretation. The greatest works of art have the power to speak beyond restricted parameters of space and time. We may have a preference for one style or another, but when we listen to a new production, it’s a good idea to listen to it for what it conveys on its own terms. Whether we like or dislike something isn’t ultimately the point, for we learn something along the way. »

30 Jun 2005

Rossini's Il viaggio a Reims

When Rossini’s Il viaggio a Reims was rediscovered more than two decades ago, its musical brilliance was immediately recognised. But its almost nonexistent plot, designed to incorporate an abundance of superstars, lent credence to Rossini’s decision to withdraw the opera once it had served its purpose — providing entertainment for the coronation of Charles X of France. Experiencing Il viaggio in the theatre, however, reveals its unconventional drama about a collection of upper-crust Europeans thwarted in their plans to attend the coronation to be an essential strength. The very triviality points up human foibles and, in the context of Rossini’s elaborate music, supplies a source of hilarity. »