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Elsewhere

Vivaldi scores intriguing but uneven Dangerous Liaisons in The Hague

“Why should I spend good money on tables when I have men standing idle?” asks a Regency country squire in the British sitcom Blackadder the Third. The Marquise de Merteuil in OPERA2DAY’s Dangerous Liaisons would agree with him. Her servants support her dinner table, groaning with gateaux, on their backs.

Between Mendelssohn and Wagner: Max Bruch’s Die Loreley

Max Bruch Die Loreley recorded live in the Prinzregenstheater, Munich, in 2014, broadcast by BR Klassik and now released in a 3-CD set by CPO. Stefan Blunier conducts the Münchner Rundfunkorchester with Michaela Kaune, Magdalena Hinterdobler, Thomas Mohr and Jan-Hendrick Rootering heading the cast, with the Prager Philharmonischer Chor..

Porgy and Bess at Dutch National Opera – Exhilarating and Moving

Thanks to the phenomenon of international co-productions, Dutch National Opera’s first-ever Porgy and Bess is an energizing, heart-stirring show with a wow-factor cast. Last year in London, co-producer English National Opera hosted it to glowing reviews. Its third parent, the Metropolitan Opera in New York, will present it at a later date. In the meantime, in Amsterdam the singers are the crowing glory in George Gershwin’s 1935 masterpiece.

Il trovatore at Seattle Opera

After a series of productions somehow skewed, perverse, and/or pallid, the first Seattle Opera production of the new year comes like a powerful gust of invigorating fresh air: a show squarely, single-mindedly focused on presenting the work of art at hand as vividly and idiomatically as possible.

Plácido Domingo awarded Honorary Fellowship of the International Opera Awards

A patron of the International Opera Awards since their inception, legendary tenor Plácido Domingo will receive the first ever Honorary Fellowship of the Opera Awards Foundation at a fundraising evening on Monday 28 January at the Royal Society of Arts, London.

Wexford Festival Opera Announces New Artistic Director

The Board of Wexford Festival Opera has announced Rosetta Cucchi as the new Artistic Director of the Festival. She will take up the six-year position when the current Artistic Director David Agler finishes his tenure after the 2019 Festival.

Opera as Life: Stefan Herheim's The Queen of Spades at Covent Garden

‘I pitied Hermann so much that I suddenly began weeping copiously … [it] turned into a mild fit of hysteria of the most pleasant kind.’

Venus Unwrapped launches at Kings Place, with ‘Barbara Strozzi: Star of Venice’

‘Playing music is for a woman a vain and frivolous thing. And I would wish you to be the most serious and chaste woman alive. Beyond this, if you do not play well your playing will give you little pleasure and not a little embarrassment. … Therefore, set aside thoughts of this frivolity and work to be humble and good and wise and obedient. Don’t let yourself be carried away by these desires, indeed resist them with a strong will.’

Gottfried von Einem’s The Visit of the Old Lady Now on CD

Gottfried von Einem was one of the most prominent Austrian composers in the 1950s–70s, actively producing operas, ballets, orchestral, chamber, choral works, and song cycles.

Britten: Hymn to St Cecilia – RIAS Kammerchor

Benjamin Britten Choral Songs from RIAS Kammerchor, from Harmonia mundi, in their first recording with new Chief Conductor Justin Doyle, featuring the Hymn to St. Cecilia, A Hymn to the Virgin, the Choral Dances from Gloriana, the Five Flower Songs op 47 and Ad majorem Dei gloriam op 17.

Si vous vouliez un jour – William Christie: Airs Sérieux et à boire vol 2

"Si vous vouliez un jour..." Volume 2 of the series Airs Sérieux et à boire, with Sir William Christie and Les Arts Florissants, from Harmonia Mundi, following on from the highly acclaimed "Bien que l'amour" Volume 1. Recorded live at the Philharmonie de Paris in April 2016, this new release is as vivacious and enchanting as the first.

Burying the Dead: Ceruleo offer 'Baroque at the Edge'

“Who are you? And what are you doing in my bedroom?”

'Sound the trumpet': countertenor duets at Wigmore Hall

This programme of seventeenth-century duets, odes and instrumental works was meticulously and finely delivered by countertenors Iestyn Davies and James Hall, with The King’s Consort, but despite the beauty of the singing and the sensitivity of the playing, somehow it didn’t quite prove as affecting as I had anticipated.

Brenda Rae's superb debut at Wigmore Hall

My last visit of the year to Wigmore Hall also proved to be one of the best of 2018. American soprano Brenda Rae has been lauded for her superb performances in the lyric coloratura repertory, in the US and in Europe, and her interpretation of the title role in ENO’s 2016 production of Berg’s Lulu had the UK critics reaching for their superlatives.

POP Bohème: Melodic, Manic, Misbehaving Hipsters

Pacific Opera Project is in its fourth annual, sold out run of Puccini’s La bohème: AKA 'The Hipsters', and it may seem at first blush that nothing succeeds like success.

Edward Gardner conducts Berlioz's L’Enfance du Christ

L’Enfance du Christ is not an Advent work, but since most of this country’s musical institutions shut down over Christmas, Advent is probably the only chance we shall have to hear it - and even then, only on occasion. But then Messiah is a Lenten work, and yet …

Fantasia on Christmas Carols: Sonoro at Kings Place

The initial appeal of this festive programme by the chamber choir, Sonoro, was the array of unfamiliar names nestled alongside titles of familiar favourites from the carol repertoire.

Dickens in Deptford: Thea Musgrave's A Christmas Carol

Both Venus and the hearth-fire were blazing at Trinity Laban Conservatoire of Music and Dance during this staging of Thea Musgrave’s 1979 opera, A Christmas Carol, an adaptation by the composer of Charles Dickens’ novel of greed, love and redemption.

There is no rose: Gesualdo Six at St John's Smith Square

This concert of Christmas music at St John’s Smith Square confirmed that not only are the Gesualdo Six and their director Owain Park fine and thoughtful musicians, but that they can skilfully shape a musical narrative.

Temple Winter Festival: The Tallis Scholars

Hodie Christus natus est. Today, Christ is born! A miracle: and one which has inspired many a composer to produce their own musical ‘miracle’: choral exultation which seems, like Christ himself, to be a gift to mankind, straight from the divine.


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Reviews

21 Jan 2019

Vivaldi scores intriguing but uneven Dangerous Liaisons in The Hague

“Why should I spend good money on tables when I have men standing idle?” asks a Regency country squire in the British sitcom Blackadder the Third. The Marquise de Merteuil in OPERA2DAY’s Dangerous Liaisons would agree with him. Her servants support her dinner table, groaning with gateaux, on their backs.  »

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15 Apr 2005

DUNSBY: Making Words Sing: Nineteenth- and Twentieth-Century Song

In Making Words Sing, Jonathan Dunsby investigates what he calls the "vocality" of song, that is, the "quality of having voice," as the author states in the introduction to his study. By using this perspective, Dunsby focuses on the intensification of the text that occurs when words are set to music, which stands in opposition to the kind of "songfulness" that Lawrence Kramer discussed in Musical Meaning: Toward a Critical History (Berkeley, CA: University of California Press, 2002). »

15 Apr 2005

English Choral Music

One has to wonder if the number of recordings of English choirs singing English choral music will ever reach a saturation point. This Naxos double disc by the Choir of St. Johns College, Cambridge, may very well signify such a moment through its attempt to chronicle the succession of English choral music from the 19th century to the present. The choir of men and boys sings gloriously, nearly equaling their more famous sister choir at King’s College, yet the musical montage is rather unusual. »

14 Apr 2005

Tristan at Paris

PARIS, April 13 – Huge, dense, taxing, with almost all the action taking place in the heart, Wagner’s “Tristan und Isolde” is notoriously difficult to stage. Indeed, the composer himself abandoned his first attempt in Vienna in the early 1860’s after no fewer than 77 rehearsals. Now, in a daring experiment, the Paris National Opera has invited the American video artist Bill Viola to accompany the work with his own visual commentary. »

14 Apr 2005

Masked Ball at Covent Garden

The aesthetics of this new staging have been determined by a co-production deal with Madrid and Houston, rather than by any wish to explore Verdi in a modern context. Like La forza del destino earlier this season, it is an old-fashioned singers’ show – safe, bankable, peppered with big-house spectacle but oblivious to the characters’ psychology and Verdi’s elegantly crafted dramatic situations. The onus for making those situations come alive once again falls on Antonio Pappano. »

13 Apr 2005

WAGNER: Tristan und Isolde

After playing a few tracks I was reminded of the late Harold Rosenthal’s review of a 1973 Callas and Di Stefano-concert in his own Opera Magazine: “This is one of the saddest reviews I ever had to write.” »

13 Apr 2005

RANDALL & DAVIS: Puccini & the Girl

"Puccini & the Girl" is a rare and engrossing work of scholarship that can be enjoyed on several levels. For the Puccini-lover, to say nothing of one who has a special interest in La Fanciulla del West, it will provide a wealth of information not previously available, particularly all in one place. Any one interested in the creative process will find it exposed and examined clearly. The scholar will recognize the fascinating chance discovery, the thrill of the chase and the deep rewards of work undertaken lovingly and with rigorous care by the dedicated and passionate co-authors. »

13 Apr 2005

HANDEL: Athalia

I have long been accustomed to the grumblings of my German and Italian colleagues concerning the pronunciation and expression of musical works in their native languages by English-native singers and choirs. I had chalked it up to benevolent xenophobia, but this beautiful recording gives me new insight into their perspective. »

11 Apr 2005

Faust at Linz

Kam da doch glatt ein Franzose (ausgerechnet!) und stellte 1859 nonchalant das deutsche Literatur-Nationalheiligtum vom Kopf auf die Füße! Sprich: Ignorierte Goethes Motto “Wer vieles bringt, wird manchem etwas bringen” und nahm des Dichterfürsten Ideendrama als Text-Steinbruch einer amour fou. Bei den deutschen Kritikern fiel das Stück durch, das Publikum hingegen war begeistert, bekam es doch genau das zu sehen, wonach es in einer Oper dürstet. »

11 Apr 2005

Pearl Fishers at NYCO

The new “Pearl Fishers” that arrived at New York City Opera on Sunday afternoon came from the San Diego Opera, but it looks as if it came from the opening ceremony of the Olympic Games. Maybe it was the fluorescent hues; or the attempt to create local color with tinselly choreography; or the stylized patterns painted on the stage, like sun on sand, and the women’s bikinis, which evoked the flavor of a recent addition to the Games, beach volleyball. »

11 Apr 2005

Olga Borodina in New York

My last encounter with Olga Borodina as a songstress was a particularly memorable one, and I daresay it was for her as well. In May 2001 she postponed a Carnegie Hall recital literally at the last minute, a hastily scrawled piece of paper taped over the poster out front our only greeting. Ms. Borodina was suffering from allergies and gamely attempted to forge ahead a week later with James Levine at the piano. The afternoon was challenging, but the half-empty hall was populated by a dedicated group that admired her courage. »

11 Apr 2005

More on Mignon at OONY

Once upon a time, Freedom Fries didn’t exist, no one made apologies for charm and grace, and operas like Ambroise Thomas’ “Mignon” (1866, revised 1870) ruled the boards. As it happens, April 2005 is a throwback to those innocent days of musical Francophilia in New York. The Philharmonic just performed “Damnation of Faust” by Berlioz; a new staging of Bizet’s “The Pearl Fishers” opened yesterday at New York City Opera, and the Metropolitan Opera presents Gounod’s once-ubiquitous “Faust” with a promising cast later this month. »

11 Apr 2005

SCHUBERT: Die Winterreise

When it comes to any new recordings of Schubert’s song cycle Winterreise, it is difficult not to think of the fine performances by Dietrich Fischer-Dieskau at various points in his career. While Fischer-Dieskau’s recordings can serve as points of reference, the recent CD by the baritone Andreas Schmidt adds to the many excellent recordings that already exist for this work. Schmidt brings to this cycle a personal and effective interpretation that emerges clearly in the recording, where the close ensemble with Rudolf Jansen results in a nuanced performance. By allowing themselves fluid tempos, the performers allow the text to serve the music well. At times they linger over a syllable or stretch a phrase to reinforce the meaning. These are subtle differences that are at the core of experienced and effective Lieder performance. »

10 Apr 2005

Rossini's Il Viaggio a Reims at the Mariinsky

Rossini’s long-lost, magnificent “party piece,” originally created for an army of bel canto singers, “Il Viaggio a Reims,” is being revived at the Mariinsky Theater, where it premieres on Wednesday with a further performance on April 16. The French actor and director Alain Maratrat is responsible for the staging, while his compatriot Pierre Alain Bertola created the sets. With their show, the French team promises an explosive fusion of Rossini’s subtle comedy and raving Russian madness. »

10 Apr 2005

The Crucible in Boston

Sex, religion and real estate: Put ‘em together, and you’ve got a plot that will bring out the best and the worst in any cast of characters. »

09 Apr 2005

Madama Butterfly at Volksoper Wien

Sieben von zwölf seiner Bühnenwerke sind nach einer Frau benannt. Puccini selbst wird der Satz nachgesagt: “Wenn ich nicht mehr verliebt bin, begrabt mich!” Was lag daher für Regisseur Stefan Herheim näher, als sich der “Madama Butterfly” aus dieser Perspektive zu nähern, die Bühne zeitweise zu einem Puccini-Museum zu machen. Mit stummen Auftritten von Tosca, Mimi und Manon Lescaut, aber auch dem Komponisten selbst. Ungewohnt auch Butterflys Ende: Sie muss in einem blutrünstigen Harakiri ihr Leben lassen. »

09 Apr 2005

Die Tote Stadt in Amsterdam

Die Tote Stadt is often described as Erich Korngold’s masterpiece. An enormous success when first performed simultaneously in Hamburg and Cologne in 1920, it has become one of those pieces every opera fan has heard of, yet few have seen: it has never been staged in Britain. That makes the new production from Netherlands Opera a real collector’s item. Musically and dramatically, it does the work proud. What it can’t do, though, is turn a deeply flawed piece into a good one. »

09 Apr 2005

La finta giardiniera in Cleveland

The CIM Opera Theater is offering two revelations this week, one old and one new. What a joy to experience Mozart’s neglected “La finta giardiniera,” which the precocious fellow wrote at the age of 18. The more recent discovery is soprano Jung Eun Oh, who was a sensation in the title role at Wednesday’s opening. »

09 Apr 2005

Tancredi in Toronto

There is one conspicuous reason for reviving Rossini’s Tancredi in our time. Fortunately that reason — the availability of the Polish contralto Ewa Podles — underlay the Canadian Opera Company’s production of that work which opened Friday night for six performances at the Hummingbird Centre in Toronto. »

08 Apr 2005

Mussorgsky's Khovanshchina in Frankfurt

Alcoholism, depression and loneliness were a few of the things that killed Modest Mussorgsky in 1881. He was 42 years old. He left behind the unfinished piano score of Khovanshchina, a vast historical opera that was, among other things, a criticism of Tsar Peter I. »

08 Apr 2005

Ambrose Thomas’s Mignon at OONY

Mignon at OONY turned out to be a mixed experience last night. Eve Queler is controversial as a conductor and last night’s opera did not play to her strengths or do anything to conceal her deficiencies. The overture began in a plodding fashion and only came intermittently alive in the conclusion based on the coloratura showpiece for Philene. Throughout, Mignon has some really lovely arias and ensembles but a lot of note spinning as well and not just during the recitatives (the opera was presented in Thomas’s second of three scores, the one in which he suppressed most — not quite all — of the spoken dialog and wrote his own recits). Ms Queler provided almost nothing to enliven, vary or give grace and charm to these conventional passages. »

07 Apr 2005

Der Ring in Chicago

For opera conductors, the Ring cycle remains the professional Everest. So the fact that Andrew Davis has just completed his first Ring at the Lyric Opera in Chicago marks not merely a career peak for one of this country’s most important conductors, it is also a major event for British music – even if it is taking place thousands of miles from home. »

07 Apr 2005

Un ballo in maschera at the Met

Humor is not a quality normally associated with Verdi. He was a dour fellow, dubbed “the bear of Busetto” by his long-suffering wife. His first comic opera, “Un giorno di regno,” was a crashing failure, and “Falstaff,” his final work for the stage, looks more intently into the abyss than most commentators care to admit. »

06 Apr 2005

HANSEN: The Sibyl Sanderson Story — Requiem for a Diva

Jack Winsor Hansen's 520-page biography of Sibyl Sanderson (1865 - 1903) is packed with romanticism and gossip that will delight and titillate true worshipers of operatic divas and inquisitive opera fans. It also fills a gap in the music-historical writings about opera at the end of the 19th century. »

06 Apr 2005

More On Fanciulla

While ruminating about “Madama Butterfly” in these pages the other week, I mentioned that the de facto premiere of the work was not in Italy at all but rather New York, since the David Belasco play originally opened on Herald Square. In the case of “Girl of the Golden West,” both the Belasco theatrical piece and the Puccini opera were launched in Manhattan, the latter under Toscanini in 1910. »