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Elsewhere

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.

Manon Lescaut in San Francisco

Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.

A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas

A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Soprano Eleanor Dennis performs Beethoven and Schubert at the 2019 Highgate International Chamber Music Festival

When soprano Eleanor Dennis was asked - by Ashok Klouda, one of the founders and co-directors of the Highgate International Chamber Music Festival - to perform some of Beethoven’s Scottish Songs Op.108 at this year’s Festival, as she leafed through the score to make her selection the first thing that struck her was the beauty of the poetry.

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Giovanni Pacini: Medea

Medea: Melodramma tragico in three acts.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.


OPERA TODAY ARCHIVES »

Reviews

16 Nov 2019

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.  »

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28 Apr 2005

Tales of Hoffmann at Baltimore

Looking for an escape—from reality? The Baltimore Opera Company has just the ticket. Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) is not called an “opera fantastique” for nothing. »

28 Apr 2005

HANDEL: Rodelinda

There was a time, not so long ago, when Handel was a rare bird on the video shelves of opera shops and record retailers, but it seems that with the advent of the slim ‘n sexy DVD disc, and (in Europe at least) a more flexible attitude to rights issues between record companies and opera houses, that those days are now, happily, past. The latest offering from Farao Classics is the 3 year old Munich Staatsoper production of his “Rodelinda” with staging by David Alden, music direction by Ivor Bolton, first given at their Festival in 2003. I’m not entirely sure why certain operas get chosen for DVD release and others don’t, and this one is a bit of a puzzle for several reasons. »

28 Apr 2005

LARSEN: love lies bleeding — Songs by Libby Larsen.

This CD, entitled "Love Lies Bleeding," is a companion to the fascinating recording by the same soprano and pianist, entitled "With All My Soul" (The Orchard 6003). »

28 Apr 2005

Hansel and Gretel at Inverness

WHAT was that about working with children? Halfway through Humperdinck’s fairytale opera a gang of local kids troops onstage dressed in sheets — angels, see — and hangs around for a bit before sloping off again: the naffest piece of staging I’ve collected in a while, and indicative of some confusion about the purpose of Scottish Opera’s mid-scale touring arm. »

28 Apr 2005

Boris Godounov at the Bastille

L’Opéra de Paris redonne à partir d’aujourd’hui, à Bastille, le Boris Godounov créé en octobre 2002 sous la baguette de James Conlon et dans la mise en scène de Francesca Zambello. C’est Jiri Kout qui devait assurer la direction musicale de ces nouvelles représentations. Empêché pour des raisons de santé, il sera remplacé par Alexander Vedernikov, directeur musical et chef principal du Théâtre Bolchoï qui assurera les sept premiers concerts, laissant à Alexander Titov, chef invité du Théâtre Marinski depuis 1991, le soin de prendre le pupitre pour les deux derniers. Une façon de recréer à Paris la rivalité artistique qui oppose Moscou à Saint-Pétersbourg. »

28 Apr 2005

Faust at the Met — Another View

In opera, embarrassment comes with the territory. Sooner or later, if you’re a fine and dignified singer, you will find yourself trapped onstage in a situation or a costume so stupid that the voice of God couldn’t save the scene. For René Pape, who has the body and bearing of a Hussar and who is probably the world’s best basso, the moment came in Act IV of the Metropolitan Opera’s new production of “Faust,” the scene in which the illegitimately pregnant Marguerite enters a church to repent and finds a taunting Mephistopheles. »

28 Apr 2005

Zemlinsky's The Dwarf in Budapest

IMAGINE you’ve got a birthday coming up. What would you like this year? How about a dwarf? I didn’t think so. Well, how about a dwarf who doesn’t know how ugly and misshapen he is, and in fact thinks he’s attractive and loveable? »

26 Apr 2005

Alexandrina Milcheva Opens the 9th Easter Festival at the Sofia National Opera

On April 23, the 70-year old Bulgarian mezzo, Alexandrina Milcheva, gave a recital of a full value program at the Sofia opera, including airs from: “Orpheus” (Gluck), “Dido and Eneas”(Purcell), “Faust” (Gounod), “Il Trovatore”, “Werther”(Massenet), “Adrienne Lecouvreur”(Cilea)and “Carmen.” »

26 Apr 2005

GLUCK: Orphee et Euridice

Christoph Willibald Gluck's (1714-1787) Orfeo ed Euridice is an opera that began a major reform of Italian opera and the way it was composed and performed in the eighteenth century. »

26 Apr 2005

Kilar's Missa pro Pace at Alice Tully Hall

Amid the annual parade of world-class orchestras passing through New York, a visit by the Wroclaw Philharmonic of Poland could easily have been overlooked – and to some extent it was, in a sparsely attended concert at Alice Tully Hall on Sunday afternoon. But on Saturday evening, partly through an accident of timing, the orchestra played to a nearly full house in St. Patrick’s Cathedral. »

26 Apr 2005

Boulevard Solitude at Graz

In the middle of 2006, when you’d rather scream than hear another note of Mozart, take heed of a less-heralded musical birthday: Hans Werner Henze will turn 80. »

25 Apr 2005

Michelle DeYoung Steps In

In the wake of soprano Helene Hunt Lieberson cancellation of a Friday appearance at the University of Chicago’s Mandel Hall, management was fortunate to land Michelle DeYoung, one of the finest in a strong contingent of young American mezzos. »

25 Apr 2005

BRITTEN: The Turn of the Screw

Britten biographer Humphrey Carpenter quotes a friend of the composer’s as calling Miles “a male Lolita.” For all the blather, if not bother, about innocence in The Turn of the Screw, I’ve never felt there was much of it present among the inhabitants of Bly. There’s sure a nasty case of naiveté going around among the grown-ups though. »

24 Apr 2005

BIZET: Les Pêcheurs de Perles

Les Pêcheurs de Perles is not a terribly major opera. Ned Rorem once memorably described it as “harmless” concerning the occasion on which it shared a double bill with the world premiere of Poulenc’s Les Mammeles De Tiresias. But for a competent early work by a promising composer who went on to greater things (well, one greater thing, given his tragically early death), Pecheurs has been given an enormous amount of attention both on stage and in the recording studio. An attractive work of conventional Second Empire French oriental exotica, it’s blessed to contain two beloved numbers that have won the hearts of opera lovers whose loyalty keeps it before the public with some frequency. »

24 Apr 2005

Miliza Korjus sings Mozart, Donzetti, Delibes, Meyerbeer, Offenbach, Gounod, ...

Miliza Korjus (1912-1980), the “Queen of Pyrotechnics”, sings with a crystalline precision, reminiscent of Joan Sutherland, and a purity of voice akin to Natalie Dessay. During the height of her operatic career, 1933-1936, Korjus had the flexibility, dynamic vocal range, and brightness to become the quintessential lyric coloratura. Hänssler Classic brings her voice back to life by remastering the very Electrola recordings that made her singing “immortal.” »

24 Apr 2005

“Fly, Thought, on Golden Wings” — Verdi’s Life told by Thomas Hampson

With a running time of 60 minutes, this DVD biographic feature on Verdi’s life might possibly be a satisfactory introductory piece for the newcomer to the great man and his art. Even then, the knowledge gained would barely form an outline to be filled in by much more study. However, if one would like a pretty travelogue of the sights and landscapes of Verdi’s Italian roots (with a side trip to Paris), plus a little time joining Thomas Hampson in admiring his own handsome self, Euroarts has a treat in store. »

24 Apr 2005

Mozart's La Finta Giardiniera at Boston University

Last night I saw the second of four performances of Mozart’s La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition. »

22 Apr 2005

GOUNOD: Polyeucte

In spite of the fact that Gounod had a special fondness for Polyeucte, it was among the least successful of his many operas. In fact, he was reported to have considered it as the favorite of his works. It was first composed around the time of the Franco-Prussian war. »

22 Apr 2005

WILLIAMS: Wagner and the Romantic Hero

There is no doubt that Richard Wagner as an artist, composer, and writer was the center of controversy both during and after his lifetime. Despite the overwhelming political, social, and psychological elements contained in his musical oeuvre, Wagner is one of the more enduring figures in the history of the arts. Based on lectures delivered at the Bayreuth Festival between 1998 and 2000, Simon Williams examines a topic that has generated much interest and scrutiny both within the arts and outside of it: Wagner’s treatment of the hero. »

22 Apr 2005

Joan La Barbara. Voice is the Original Instrument: Early Works (1974-1980)
Jacqueline Humbert. Chanteuse

You can rely on Lovely Music. The new-music label Lovely Music invariably provides some of the most interesting new music available on recordings. They can be relied upon in a business with its fair share of unreliables — immaturity, bad quality recording, sophistry — to give good quality interesting recordings of innovative work. They’ve been around for at least two decades, and their catalog covers some of the very best in what can be called “downtown” new music — conceptual music influenced in large part by John Cage, world music, and modern American art and dance after abstract expressionism (let’s say Warhol and after). Their rather humble website is at www.lovely.com, and really tells only a small part of their story. For someone exploring American new music for the first time, they make a very good starting point. »

21 Apr 2005

GLASS & MARSHALL: Les Enfants Terribles — Children of the Game

Well I’m trying. The liner notes read: “Les Enfants Terribles, the final installment of Philip Glass’ trilogy based on the work of Jean Cocteau, articulates Cocteau’s belief in the transcendent power of imagination and creativity. It is the story of a brother and a sister, Paul and Lise, two characters so caught up in a world of their own imaginings that they can no longer see a reality beyond their ‘game’.” The music on this cd is the accompaniment to a dance/opera (and thus it’s only half the story — to be as fair as possible to thing). The work is scored for three singers and a narrator, accompanied by three keyboards. »

21 Apr 2005

SAARIAHO: Cinq reflets de L'Amour de loin; Nymphea Reflection; Oltra Mar

This is very pleasant new music, long in breath, richly scored, nice poetry, nothing pretentious, but good solid rewarding composition. Ms. Saariaho is truly adept at making a great orchestral score, and she has a way with voices, particularly Pia Freund’s on the first track, which truly soars. »

20 Apr 2005

Berg's Lulu at ENO

Richard Jones’s English National Opera production of Berg’s Lulu was widely regarded as one of the company’s finest achievements when it premiered in 2002. The first night of its revival, however, was a somewhat awkward affair, in which illness regrettably played its part. Lisa Saffer (Lulu) and Susan Parry (Geschwitz) were singing with apologies, after suffering from throat infections. Fine actresses both, they compensated for vocal roughness with performances of uncommon dramatic vividness, though Saffer’s understandable tentativeness inevitably meant that we were faced with a Lulu whose physical glamour was unsupported by equivalent vocal allure. »

20 Apr 2005

Henze's The Bassarids in Paris Without Orchestra

No other city puts on a welcome quite like Paris. When the Olympic committee came to evaluate the city’s bid to host the games, they were greeted by strikes, and last week the Théâtre du Châtelet’s bid for artistic glory met with a similarly thumb-to-the-nose response. »