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Elsewhere

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’


OPERA TODAY ARCHIVES »

Reviews

<em>Rigoletto</em>, Royal Opera House, Covent Garden
17 Dec 2017

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts. »

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10 Jan 2005

MOZART: Le Nozze di Figaro

Recorded in Tokyo on October 23, 1963, this live recording of Nozze di Figaro boasts fine sound, a top cast, and the leadership of a conductor of great skill and experience. The label, Ponto, has joined the ranks of such other companies as Opera D’oro and Gala in making available broadcast and in-house recordings at affordable prices. Sometimes these releases are not even worth the modest price asked for; this one may well have more to offer than higher-priced studio sets. After a slightly hesitant first few moments, the sound quality settles down and becomes admirably strong and well defined. There is relatively little stage noise, the voices have a natural presence without being too forwardly placed, and Böhm’s orchestral control can be relished. His may be an old-fashioned reading, but it never lags or lacks for humor or beauty. The audience can be heard laughing from time to time at the stage antics; applause only interferes with the musical pleasures at the end of Non piu andrai, when unrestrained clapping covers a bit of Böhm’s ironically happy martial send-off. »

10 Jan 2005

WAGNER: Tristan und Isolde

Elsewhere on Opera Today readers can find a recent review of a live recording of Mozart’s Le Nozze di Figaro from the Ponto label, a company that has joined the ranks of Opera D’oro and Gala in offering, at budget price, live recordings of various provenance. At their best, as with that Nozze, these recordings offer in acceptable sound (sometimes better) performances of such quality they rival their more expensive competitors. At less than the best, however, even the budget price becomes exorbitant. This Tristan und Isolde, recorded on January 25, 1967, unfortunately belongs to the latter category. Unless one has a strong personal reason for wanting a keepsake of this company or the artists involved, the recording is unlikely to please most listeners. The primary reason is the sound. While not unlistenable, the recording is clearly an “in-house” affair, and probably from an audience member, as some of the coughing is more up-front than the singing. Worse, during the climax, some audience members are whispering as Isolde enters the Leibestod. One would love for a Jon Vickers to have been present to yell out, “Stop your damn whispering!” »

08 Jan 2005

Verlaine and Rimbaud in Boston

'Verlaine and Rimbaud' has the poetry but not the passion By Richard Dyer, Globe Staff | January 8, 2005 Intermezzo: The New England Chamber Opera Series adventurously alternates standard 20th-century chamber operas with new works. The company opened its third... »

07 Jan 2005

BOLCOM: Songs of Innocence and of Experience

William Bolcom is arguably the preeminent American opera composer of today. His third commission for Lyric Opera of Chicago, A Wedding, recently opened to mostly positive reviews. His previous work in the form, A View from the Bridge, had a successful run at the Metropolitan Opera following its premiere in Chicago. »

05 Jan 2005

Turandot at the Met

Turandot, Metropolitan Opera, New York By Martin Bernheimer Published: January 5 2005 02:00 | Last updated: January 5 2005 02:00 Turandot remains a prime tourist attraction at the Met, lock, stock and chinoiserie. Even after 17 years, gasping crowds muster... »

04 Jan 2005

The Cambridge Companion to Rossini

The title of this book, "The Cambridge Companion to Rossini" probably means different things to different people. »

04 Jan 2005

VERDI: Il Trovatore

Il Trovatore Giuseppe Verdi, music and Salvatore Cammarano and Leone Emanuele Bardare, libretto TDK DVUS-CLOPIT Raina Kabaivanska (Leonora) Fiorenza Cossotto (Azucena) Plácido Domingo (Manrico) Piero Cappuccilli (Conte di Luna) José van Dam (Ferrando) Maria Venuti (Inez) Heinz Zednik (Ruiz) Karl... »

04 Jan 2005

BACH: Matthäus-Passion

On an accompanying CD and in the liner notes, interviewer Klaus J. Schönmetzler asks conductor Enoch zu Guttenberg, “Why another St. Matthew Passion?” This is a fair question considering the glut of recordings ranging from the overtly romantic to the idealized “authentic” (and mostly fast) Baroque editions. To his credit, Guttenberg responds to this question by acknowledging an aversion to interpreting Bach overly Romantically while desiring a Baroque sensibility. As a theologian, zu Guttenberg understands an undeniable conviction in Bach’s theology, particularly in the chorales, which he acknowledges can lead to a more Romantic interpretation. Zu Guttenberg’s attempt to capture this devotion coupled with the reality of twenty-first century instruments and performers, produces a St. Matthew stuck in a mediocre middle ground between a Baroque “ideal” and a Romantic interpretation. »

02 Jan 2005

Trois Valses at Théâtre Royal de Liège

Wow ! Les Trois Valses comme il faut in Liège Laurence Janot (Fanny Grandpré) and Jean-Baptiste Marcenac (Octave de Chalencey) For the year's end the Walloon Opera always offers some lighter fare. A few years ago we saw a very... »

02 Jan 2005

Britten's A Midsummer Night's Dream at De Munt, Brussels

© Johan Jacobs De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an... »

31 Dec 2004

La Cenerentola a Torino

Una piccola ma scelta rappresentanza di questo esimio consesso ha assistito ieri sera alla terzultima rappresentazione de La Cenerentola al Regio di Torino. In una sala strapiena di un pubblico festoso, reattivo e soprattutto devastato dalla bronchite (propongo per il... »

30 Dec 2004

Lamento with Magdalena Ko

The imposing figure of Johann Sebastian Bach has loomed large for Magdalena Koená throughout her career. It was her first disc of Bach arias on Deutsche Grammophon’s Archiv label that brought the golden-voiced mezzo to the attention of the music world as early as 1997. Word then quickly went round that Magdalena was the perfect choice for Bach recordings. ”This disc that started my international career also was my introduction to the great Baroque conductors, including the wonderful scholar and musician Reinhard Goebel, with whom I’ve worked on my new disc, Lamento.” Although the title may suggest wailing and gnashing of teeth, this is a sublime and eclectic mixture of music by J. S. Bach, his relations and contemporaries. ”There’s a very optimistic feeling to this CD,” says Koená. ”Although all these pieces are about how horrible it is on this earth, they are really celebrating how great it will be afterwards. There’s a message of hope throughout.” »

30 Dec 2004

Gramophone Reviews Le Comte Ory

Colour, wit and life abound with a star turn from the Rossini tenor of the moment Comte Ory Le Comte Ory is the first great French-language comic opera. A late work (Paris, 1828), sensuous, witty and exquisitely crafted, it has... »

30 Dec 2004

Bullfrog Films' Don Giovanni: Leporello’s Revenge

Don Giovanni: Leporello's Revenge Mozart's opera presented from the point of view of Don Giovanni's servant, Leporello. 55 minutes Color / Stereo Copyright Date: 2000 ISBN: 1-56029-885-5 Mozart's Don Giovanni is arguably one of his most complex, politically controversial, and... »

29 Dec 2004

Moskva, Cheryomushki at Lyon

Moskva, Cheryomushki, Opéra de Lyon, France By Francis Carlin Published: December 29 2004 02:00 | Last updated: December 29 2004 02:00 Wanted: a warm-up guy for chronically frigid audience. The first-nighters sat on their hands throughout Shostakovitch's easy-listening operetta (1959),... »

29 Dec 2004

Le Monde Reviews Verdi's Falstaff from Andante

Deux "Falstaff", à vingt ans d'écart LE MONDE | 27.12.04 | 14h05 Les amateurs d'opéra ont, généralement, un fort penchant pour l'écoute comparée des interprétations. L'éditeur Andante les comblera. Dans un somptueux livre-CD (224 pages avec notice et livret en... »

29 Dec 2004

Acis and Galatea at Teatro Marrucino di Chieti

Haendel in salsa mozartiana Acis and Galatea Pastorale in 2 atti di Georg Friedrich Haendel. (orchestrazione W. A. Mozart, K566) libretto di John Gay dalle Metamorfosi di Ovidio edizione Edizioni Barenreiter, Kassel (in Italia casa Musicale Sonzogno di Piero Ostali)... »

28 Dec 2004

Die Presse Reviews Das Rheingold at Covent Garden

Covent Garden: über 193 Stufen nach Walhall VON PETRA HAIDERER Mit "Rheingold" begann der neue "Ring"-Zyklus in Londons Covent Garden Opera - Bryn Terfel sang erstmals den Wotan. This is Covent Garden!", sagt die me lodische Frauenstimme in der Londoner... »

28 Dec 2004

Schnittke's Gesualdo — Another View

Staatsoper: Neuer Versuch mit dem Kindsmord VON WILHELM SINKOVICZ Alfred Schnittkes "Gesualdo" wieder auf dem Spielplan: exzellent besetzt, aber nach wie vor problematisch. Das Stück wird nicht besser, wenn man es bis in die kleinsten Rollen mit edelsten Stimmen besetzt,... »

27 Dec 2004

Schnittke's Gesualdo at the Wiener Staatsoper

Gesualdo Vienna State Opera By Larry L Lash Published: December 27 2004 02:00 | Last updated: December 27 2004 02:00 In a house where world premieres are rare and successful ones even rarer, I suspect the Vienna State Opera feels... »

27 Dec 2004

Il trovatore at Munich

Gefahr für die Luftröhre Staatsoper: Neu besetzter "Troubadour" Eine Produktion mit Hustenreiz-Garantie. Denn wenn sich der Vorhang zum hochgradig verstaubten Staatsopern-"Troubadour" öffnet, dann sträuben sich in der Luftröhre die Flimmerhärchen. Für Stars auf der Durchreise taugt das müde Arrangement allemal:... »

26 Dec 2004

Hoffmann at Marseille

Tales of Hoffmann, Opéra de Marseille By Francis Carlin Published: December 23 2004 02:00 | Last updated: December 23 2004 02:00 We have surely not heard the last word on Offenbach's attempt to get back into the world of grand... »

24 Dec 2004

Haydn's The Creation at The Sage, Gateshead

Haydn’s Creation couldn’t have been a more appropriate choice for the opening concert at The Sage Gateshead complex, although it must have felt more like “paradise found” for the Northern Sinfonia than Paradise Lost, the Milton poem on which the oratorio is based. In the performances of the uninhibited soloists – Geraldine McGreevy, Thomas Walker and Michael George (placed, perhaps unwisely, behind the orchestra) – there was a sense of the architectural accomplishment and, more obviously, the human joy contained in Haydn’s great work. The one artistic achievement matched the other splendidly. »

23 Dec 2004

Shostakovich's The Nose at Théâtre Graslin, Nantes

The Nose/Angers-Nantes Opéra, Théâtre Graslin, Nantes By Francis Carlin Published: December 22 2004 13:05 | Last updated: December 22 2004 13:05 Now merged with nearby Angers, Nantes is still flying the flag of artistic courage and digging out overlooked jewels.... »

22 Dec 2004

ROSSINI: Zelmira

Zelmira Gioachino Rossini, music and Andrea Leone Tortola, libretto ORC 27 Scottish Chamber Orchestra Maurizio Benini, conductor Besides its Opera in English series on Chandos, Peter Moore's Foundation has sponsored the recording of many a fine bel canto rarity on... »

21 Dec 2004

Carmen at De Vlaamse Opera

The sigh of relief was almost audible during the short love duet after “La fleur que tu m’avais jetée”. Carmen started to strip down, fumbled a little bit with José’s pants and both started their love making. So after all, Bieito’s signature tune was being played. In reality apart from the many lewd gestures, both singers remained firmly and fully clothed. The only full nude was a male dancer during the prelude to the third act and even he was lighted in clair-obscur. Another Bieito-feature, horrible violence, was also somewhat muted. Granted, José gutted Carmen in the finale of the opera in plain sight and in the well-known way Islamists treat those poor people they can lay their hands on and therefore it was a bloody affair but still everybody knows “this is theatre”. »