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Elsewhere

Isouard's Cinderella: Bampton Classical Opera at St John's Smith Square

A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths.

The Royal Opera House lets everyone in on the act

The Royal Opera House today opens the doors to its transformed new home, following an extensive three-year construction project.

A Winterreise both familiar and revelatory: Ian Bostridge and Thomas Adès at Wigmore Hall

‘“Will you play your hurdy-gurdy to my songs?” the wanderer asks. If the answer were to be a “yes”, then the crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again. This could explore a notion of eternal recurrence: we are trapped in the endless repetition of this existential lament.’

Stars of Lyric Opera at Millennium Park, 2018

Lyric Opera of Chicago’s annual concert, Stars of Lyric Opera at Millennium Park, given during last weekend, was both a tribute to the many facets of opera and a preview of what lies ahead in the upcoming repertoire season.

Classical Opera: Bastien und Bastienne on Signum Classics

Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.

A Stunning Semiramide from Opera Rara

In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.

Dorothea Röschmann at Wigmore Hall: songs by Schumann, Wolf and Brahms

One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign. It certainly did not here, in a wonderfully involving recital of songs by Schumannn, Wolf, and Brahms from Dorothea Röschmann and Malcolm Martineau.

Two of Garsington Opera's 2018 productions to reach a wider audience

Garsington Opera is delighted to announce that on Saturday 6 October, BBC Radio 3’s ‘Opera on 3’, will broadcast the production of its first festival world premiere - The Skating Rink by David Sawer set to a libretto by Rory Mullarkey based on a novel by Chilean author Roberto Bolaño.

The Path of Life: Ilker Arcayürek sings Schubert at Wigmore Hall

Wigmore Hall’s BBC Radio 3 Lunchtime Concert 2018-19 series opened this week with a journey along The Path of Life as illustrated by the songs of Schubert, and it offered a rare chance to hear the composer’s long, and long-germinating, setting of Johann Baptist Mayrhofer’s philosophical rumination, ‘Einsamkeit’ - an extended eulogy to loneliness which Schubert described, in a letter of 1822, as the best thing he had done, “mein Bestes, was ich gemacht habe”.

Heine through Song: Florian Boesch and Malcolm Martineau open a new Wigmore Hall season

The BBC Proms have now gone into hibernation until July 2019. But, as the hearty patriotic strains rang out over South Kensington on Saturday evening, in Westminster the somewhat gentler, but no less emotive, flame of nineteenth-century lied was re-lit at Wigmore Hall, as baritone Florian Boesch and pianist Malcolm Martineau opened the Hall’s 2018-19 season with a recital comprising song settings of texts by Heinrich Heine.

Elgar Orchestral Songs - SOMM

Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.

Prom 74: Handel's Theodora

“One of the most insufferable prigs in a literature.” Handel scholar Winton Dean’s dismissal of Theodora, the eponymous heroine of Handel’s 1749 oratorio, may well have been shared by many among his contemporary audience.

Remembering and Representing Dido, Queen of Carthage: an interview with Thomas Guthrie

The first two instalments of the Academy of Ancient Music’s ‘Purcell trilogy’ at the Barbican Hall have posed plentiful questions - creative, cultural and political.

Landmark Productions and Irish National Opera present The Second Violinist

Renaissance madrigals and twentieth-century social media don’t at first seem likely bed-fellows. However, Martin - the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh - is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism.

The Rake's Progress: British Youth Opera

The cautionary tale which W.H. Auden and Chester Kallman fashioned for Igor Stravinsky’s 1951 opera, The Rake’s Progress - recounting the downward course of an archetypal libertine from the faux fulfilment of matrimonial and monetary dreams to the grim reality of madness and death - was, of course, an elaboration of William Hogarth’s 1733 series of eight engravings.

Prom 71: John Eliot Gardiner and the Orchestre Revolutionaire et Romantique play Berlioz

Having recently recorded the role of Dido in Berlioz' Les Troyens on Warner Classics, there was genuine excitement at the prospect of hearing Joyce DiDonato performing Dido's death scene live at the BBC Proms. She joined John Eliot Gardiner and the Orchestre Revolutionaire et Romantique for an all-Berlioz Prom at the Royal Albert Hall on Wednesday 5 September 2018. As well as the scene from Les Troyens, DiDonato sang La mort de Cleopatre and the orchestra performed the overture Le Corsaire and The Royal Hunt and Storm from Les Troyens, and were joined by viola player Antoine Tamestit for Harold in Italy.

ENO Studio Live: Paul Bunyan

“A telegram, a telegram,/ A telegram from Hollywood./ Inkslinger is the name; And I think that the news is good.” The Western Union Boy’s missive, delivered to Johnny Inkslinger in the closing moments of 1941 ‘choral operetta’ Paul Bunyan and directly connecting the American Dream with success in Tinseltown, may have echoed an offer that Benjamin Britten himself received, for the composer had written expectantly to Wulff Scherchen on 7th February 1939, ‘(((Shshshsssh … I may have an offer from Holywood [sic] for a film, but don’t say a word))).’ Ten days later he wrote again: ‘Hollywood seems a bit nearer - I’ve got an interview with the Producer on Monday’.

Young audience embraces Die Zauberflöte at Dutch National Opera

The Dutch National Opera season opens officially on the 7th of September with a third run of Simon McBurney’s production of Mozart’s Die Zauberflöte, an unqualified success at its 2012 premiere. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival.

Prom 67: The Boston Symphony Orchestra play Mahler’s Third

Mahler and I, at least in the concert hall, parted company over a decade ago - and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music. This was my tragedy with Mahler.

Bampton Classical Opera Goes to the Ball

I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses - even postage stamps - and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.


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Reviews

Isouard’s <em>Cinderella</em>: Bampton Classical Opera at St John’s Smith Square
19 Sep 2018

Isouard's Cinderella: Bampton Classical Opera at St John's Smith Square

A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths. »

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15 Feb 2005

La Traviata As Ballet Stumbles

This is the way the art of ballet will end, with a sentimental whimper, an easy tear in its eye, and not a squeak of true life as theatrical dance. If the novelisation of successful movies is thought a pretty bogus form of literature, how much worse is a balletisation of an opera masterpiece such as Verdi’s La traviata. »

15 Feb 2005

Opera Colorado Presents Julius Caesar

Odd that Opera Colorado would encourage ticket-buyers for its production of Julius Caesar to “Bring your Valentine . . . and witness a love so great it changed the course of history.” This, be advised, is not your typical love story, nor is it a date opera. Just as the production that opened Saturday at the Buell Theatre is hardly your basic, by-the-book staging. For starters, Handel’s legendary leading lovers, Caesar and Cleopatra, are both sung by women. And, yes, they do smooch – sort of. »

15 Feb 2005

José van Dam in New York

Recitals should be about something, I always say. So I should have been delighted that “dans ce vague d’un Dimanche,” on a dreamy Sunday (a line from Debussy’s song “L’échelonnement des haies”) at Alice Tully Hall, José van Dam, the excellent Belgian bass-baritone, perfectly suited his delivery to words like “parcourent en rêvant les coteaux enchantées/ où, jadis, sourit ma jeunesse” (“wandering dreamily across the enchanted slopes where, once, my youth smiled”), a line from Fauré’s “Automne.” »

15 Feb 2005

Bernstein's Candide in London

Leonard Bernstein’s Candide may only have been written 50 years ago, but it presents as many problems of texts and editions as any baroque opera that mouldered in an ecclesiastical library for three or four centuries. The idea of turning Voltaire’s scabrously satirical novella into an operetta was originally Lillian Hellman’s, but five other writers eventually contributed to the piece, while for the rest of his life Bernstein carried on worrying away at it too. »

15 Feb 2005

Tristan und Isolde at Grand Théâtre de Genève

Le metteur en scène français Olivier Py a conçu une nouvelle production de Tristan, de Wagner – la première depuis vingt ans à l’Opéra de Genève. A pari téméraire, réussite exemplaire : le metteur en scène, auteur et comédien français réalise une magistrale version du chef-d’œuvre wagnérien, plastique et superlativement musicale, intelligente et hautement sensible. Un Tristan tiré au cordeau que magnifient les ingénieux décors de Pierre-André Weits, les lumières d’Olivier Py et une direction d’acteurs aboutie. »

15 Feb 2005

Tosca at Bayerische Staatsoper

Es gibt CD-Aufnahmen mit Roberto Alagna, auf denen erkennt man seine Stimme nicht wieder. Entspannt und schmiegsam klingt sie da, ebenmäßig und mit sehr dezenten Nuancierungen – genauso also, wie im dritten “Tosca”-Akt an der Bayerischen Staatsoper. Das “E lucevan le stelle” behandelte der München-Debütant ganz behutsam, nicht als Nummer eines Schlagerabends, sondern wie eine versonnene Erinnerung an Vergangenes – also der Situation kurz vor dem tödlichen Schuss durchaus angemessen. »

14 Feb 2005

SCHUMANN AND BRAHMS: Schöne Wiege meiner Leiden

The CD entitled Schöne Wiege meiner Leiden contains a selection of music by three friends who composed Lieder: Robert Schumann, his wife Clara, and their colleague Johannes Brahms. Their friendship is well known, and this recording is an attempt to pay tribute to what Berner calls “the manifold interactions between this artistic trinity” by presenting music by each of them; the pieces include Robert Schumann’s Liederkreis, Op. 24, seven Lieder by Clara Schumann, and ten of Brahms’ Deutsche Volkslieder, WoO 33. »

13 Feb 2005

CUI: A Feast in Time of Plague
RACHMANINOV: The Miserly Knight

The new Chandos recordings present Valeri Polyansky and the Russian State Symphony Orchestra in two little-known Russian operas of the early twentieth century, Sergei Rachmaninov’s The Miserly Knight (1905), and César Cui’s A Feast in Time of Plague (1900), the latter recorded for the first time. Each work is a setting of one of Alexander Pushkin’s Little Tragedies (1830), a series of four short plays in blank verse that elaborate on popular literary topics: “Don Juan, or The Stone Guest,” “The Miserly Knight,” “Mozart and Salieri,” and “A Feast in Time of Plague.” Sharply penetrating psychological portraits of people consumed by their obsessions – passion, greed, jealousy, and fear – Pushkin’s “dramatic scenes” have enjoyed a near cult status among the classics of Russian literature over the past 175 years. So has the first attempt to set one of them to music – a radical 1869 word-for-word setting of The Stone Guest by Alexander Dargomyzhsky (1813-69). Cast almost entirely as a continuous arioso, the work was proclaimed a revolution in operatic style by the Russian Five whose unbridled enthusiasm contributed to its enduring reputation. »

13 Feb 2005

DONIZETTI: L’elisir D’amore

Of today’s opera stars, tenor Rolando Villazón may be the “hottest” (if readers will allow that Entertainment Tonight term). He has gone from being an Operalia winner a few years back to assuming leading roles in the major houses of Europe and the U.S. His second major label recital disc has just been released to even higher praise than his first received, which appeared on many “best of the year lists” for 2004. Wherever he appears, major profiles and interviews appear in the local papers. He’s so hot he may be contributing to global warming. »

12 Feb 2005

Deborah Polaski in Vienna

Groß war das Interesse für Deborah Polaskis erste Wiener Isolde. Und rasch machte sie klar, wie sie diese Rolle versteht: als kraftvoll gesteigerte Euphorie. Da hatte sie in Peter Schneider am Pult des gut disponierten, mit fabelhaften Soli bei Streichern und Bläsern aufwartenden Staatsopernorchesters einen gleich gestimmten Partner. Denn auch er setzte auf kräftige Farben, heizte die Dynamik und die Emotion der Sänger an, ohne dabei auf die lyrischen Stellen der Partitur zu vergessen, auch wenn man diese schon feinnerviger modelliert in Erinnerung hat. Dennoch, zu einem spannenden Ganzen wollten sich die einzelnen, noch so intensiv musizierten Mosaiksteine nur schwer fügen. »

11 Feb 2005

LULLY: Les Fêtes de l'Amour et de Bacchus

Born in Florence, Jean-Baptiste Lully (1632-1687) came to France in 1646 as an Italian tutor to Louis XIV’s cousin Anne-Marie-Louise d’Orléans. Thanks to her, Lully became acquainted with French music, and got to study with several eminent musicians in Paris. In early 1653, he was asked to play several roles in the spectacular Royal Ballet of the Night. His performances caught the eye of King Louis XIV, who immediately appointed the young musician to the post of “Instrumental Music Composer.” Soon, Lully became Louis XIV’s favorite musician — he was appointed to the post of “Master of Music of the Royal Family” in 1662 — and the most important composer in France. Today, Lully is known primarily as the first major composer of French opera. (Unfortunately, he is also remembered for the way he died. In January 1687, Lully stabbed his foot with a cane that he used to beat time, and he succumbed to infections that resulted from this injury.) »

11 Feb 2005

A Critical Edition of Faust at Frankfurt

Gounod’s Faust is often billed in Germany as Margarethe. The frivolous Frenchman’s melodies should not be confused with Goethe’s masterpiece. That would be blasphemy. Frankfurt Opera, not a house given to frivolity, has chosen a new critical edition of Faust. Minus the usual cuts, plus intervals, the evening lasts four hours. Add Johannes Debus on the podium, drawing plump, earthy sounds from the orchestra, and you start to hear Gounod with an earnestly German accent. »

11 Feb 2005

Tchaikovsky's The Enchantress at the Mariinsky

A scene from the Mariinsky Theater’s production of Tchaikovsky’s opera The Enchantress. Pyotr Tchaikovsky, arguably Russia’s most popular composer, is being celebrated with a festival of his work at the Mariinsky Theater. The event, which kicks off Saturday with David Poutney’s production of “The Enchantress,” runs through Feb. 20 and features over two dozen performances of Tchaikovsky’s operas, ballets and chamber music. The Mariinsky’s artistic director, Valery Gergiev makes just one appearance during the festival, to conduct “The Enchantress” on the opening night. »

10 Feb 2005

Il primo dolce affanno… The first sweet pain

True to the intent of its series, Il Salotto, Opera Rara offers in this seventh volume a delightful sampling of art songs from the mid- to late-nineteenth-century repertory. Performing them are sopranos Elisabeth Vidal and Laura Claycomb, mezzo Manuele Custer, tenors Bruce Ford and Willliam Matteuzzi, baritone Roberto Servile, and bass Alastair Miles, accompanied on piano by David Harper. »

10 Feb 2005

St. Olaf Choir at Carnegie Hall

The singers marched on stage with near-military precision, the hem of each purple choir robe at the same distance from the ground. When they opened their mouths to sing, an even wall of sound emerged: words clear, notes true. But more than that, the notes were felt. As the music moved through the rows of singers, their bodies swayed like a field of long grass in the wind. »

10 Feb 2005

BUSNOIS: Missa O Crux lignum, Motets, Chansons

The most recent recording by England’s premier performers of Renaissance vocal music, the Orlando Consort, features a selection of works by the renowned fifteenth-century composer Antoine Busnois, works that represent the major genres of music composition of the time — mass, motet, and chanson. The performances are what we have come to expect from the fine singers of the Orlando Consort: warm, vibrant, and precise. »

10 Feb 2005

Stefanie Wüst Performs Monteverdi and Weill in Potsdam

Die bedeutenden Komponisten der Musikliteratur, Claudio Monteverdi und Kurt Weill, suchten sich als literarische „Partner“ Größen der Weltliteratur, un- ter anderen Torquato Tasso und Bertolt Brecht. Und so ist es nicht verwunderlich, dass eine sensible Behandlung der Sprache bei beiden Komponisten in ihren Musiktheaterstücken oberste Priorität hat. »

10 Feb 2005

Amanda Roocroft in Frankfurt

Es gibt Termine, die sind für einen Liederabend in der Oper Frankfurt eher ungünstig. Dazu gehört der Fastnachtsdienstag. Zwar dürften sich die Zielgruppen einigermaßen unterscheiden. Aber zartbesaitete Menschen trauen sich an den tollen Tagen kaum aus dem Haus. So war die Oper, die normalerweise mehr als tausend Personen fasst, beim Gastauftritt der britischen Sopranistin Amanda Roocroft mit Iain Burnside als Klavierbegleiter enttäuschend schwach besucht. Und möglicherweise lag es am Blick auf die vielen leer gebliebenen Plätze, dass Amanda Roocroft ihr Programm zunächst nicht übermäßig engagiert anging und ihr Potential oft mehr durchscheinen ließ als zeigte. »

10 Feb 2005

Der Rosenkavalier at Graz

Hugo von Hofmannsthal bemerkte 1921, dass der “Rosenkavalier gar nichts sei, wenn nicht ein Dokument der österreichischen Wesensart”. Dieses Diktum schien die Maxime der Grazer Neuproduktion gewesen zu sein. Marco Arturo Marelli, verantwortlich für Inszenierung, Bühne und Licht, ist überhaupt ganz offensichtlich ein genauer Kenner von Hofmannsthals Meisterlibretto. Den innersten Fasern und Nuancen des Textes folgend, gelang es ihm mittels eines riesigen, schräg über der Bühne platzierten Spiegels und einer hochsensiblen Lichtregie eine sinnlich-dichte Atmosphäre zu schaffen, eben genau jene spezifisch österreichische “Lebensluft”, um die es Hofmannsthal zeitlebens so intensiv zu tun war. »

10 Feb 2005

Don Giovanni at Toulouse Disappoints Le Monde

Une vague forme humaine étendue dans la pénombre – gisant, dormant ? C’est Leporello. A côté, le fameux livre de comptes de Don Giovanni – mille et deux conquêtes. Quelque part, la mille troisième est en train de se faire “inscrire” : Donna Elvira. La voilà d’ailleurs qui surgit, hors d’haleine, tâchant de démasquer son violeur. Entre rêve et réalité, monde intérieur et espace externe, Brigitte Jacques-Wajeman, qui signe là sa première mise en scène d’un opéra du répertoire, a choisi de confronter le désir vital à l’inconscient mortifère (les mortes eaux de décors en noir et blanc). »