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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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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). »

10 Feb 2005

Reviving Mendelssohn's Revival

On March 11 1829 a marker was set down in musical history, when the 20-year-old Mendelssohn realised an ambition to give the first performance in “modern” times of Bach’s St Matthew Passion – a scheme dismissed by his elders as the fantasy of a couple of “snotty-nosed brats”. »

09 Feb 2005

La Clemenza di Tito — Another View

“Classy” is not a word we have come to associate with English National Opera in recent years. Populist, perhaps. Attention-seeking, certainly. But with Mozart’s late opera seria, ENO returns to the old-fashioned virtues of ensemble, intelligibility, beauty, truth. They should be obvious, shouldn’t they? But we rarely encounter them in harmony, as we do here in a production directed by David McVicar, conducted by Roland Böer and shared with the Royal Danish Opera. »

08 Feb 2005

Glass's Akhnaten in Boston

The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass’s Akhnaten last week five years to the day after the work’s Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass’s work could be had. »

08 Feb 2005

Prokofiev's The Love for Three Oranges in Toronto

When you hear a stage prince sing, “Dear orange, we’re finally alone together, just you and me,” you know you’re not listening to the usual grand-opera fare. But, then again, Opera In Concert is not about presenting the Opera America Top 10 list. »

08 Feb 2005

David Daniels in Salt Lake

Even if you have heard a countertenor sing before – and judging from intermission chatter Saturday in Libby Gardner Hall, not many people have – you’ve never heard anyone sing like David Daniels. Daniels, credited with helping revive interest in early operas as well as the countertenor voice, wowed the Libby Gardner crowd with his versatility, stage presence and genre-transcending musicianship. Mozart’s Lieder, Fauré art songs, arias by Handel and Purcell, American folk songs and contemporary music: Daniels brought something distinctive and compelling to them all. »

08 Feb 2005

Christine Schäfer Leaves Lasting Memories in New York

In the early days of the early music movement, ensembles and artists competed with one another over who knew the most about performance styles of the Baroque and Classical eras. The authenticity sweepstakes still goes on. But such insight takes you only so far. I’m sure the musicians of the renowned Freiburg Baroque Orchestra from Germany are as informed about early music performance practices as comparable ensembles. But what made their concert on Sunday afternoon at Alice Tully Hall so gratifying was the vitality and imagination of their playing – qualities that transcend any era. »

08 Feb 2005

La Clemenza di Tito at ENO

Mozart’s La Clemenza di Tito was written to celebrate the coronation of the Habsburg emperor Leopold II as king of Bohemia in 1791. The date, two years after the French Revolution, is significant. Depicting a botched attempt to assassinate the Roman Emperor Titus, and his subsequent refusal to execute the conspirators, the opera examines the implications of the idea of benevolent autocracy and draws the conclusion that enlightened government necessitates absolute solitude and emotional isolation. »

08 Feb 2005

Nina Stemme as Marguerite in Frankfurt am Main

Ist so Wagners Isolde angezogen? Schwarzes Kleid, darüber blaue Kittelschürze. Bequemstiefel, Gummihandschuhe. Aber nein. Nina Stemme ist jetzt Marguerite in Gounods “Faust” in Frankfurt am Main. Ausgerechnet. Wagner hätte das nicht gefallen. Noch dazu ein Gretchen als verdruckste, sich an ihr Kruzifix-Kettchen klammernde Saaltochter in einem schmuddeligen Demenzpflegeheim. Isolde, das wird wieder im Sommer sein. In Bayreuth. Wo Nina Stemme freilich bereits auf dem Grünen Hügel debütiert hat: 1994 als Freia im “Ring”. Jetzt wird sie als irische Maid in Christoph Marthalers Inszenierung zurückkehren. Vielleicht sogar in Kittelschürze? Mal sehen, was der Kostümbildnerin Anna Viebrock so einfällt. »

07 Feb 2005

Arabella at Bayerische Staatsoper

Beste Stimmung im Nationaltheater. Und das nicht nur, weil auf der Bühne jahreszeitlich korrekt der Fasching tobte. Nein, nicht die bunten Luftschlangen und närrischen Hütchen peppten den Abend auf, sondern die Sänger. Sie heizten mit ihrem Totaleinsatz die x-te Repertoirevorstellung von Richard Strauss’ “Arabella” so an, dass das Abo-Publikum seine helle Freude hatte. Münchner Opernalltag, der im großen Jubel endete. »

07 Feb 2005

MAHLER: Songs

While a number of fine recent recordings of Mahler’s Lieder with orchestral accompaniment have been released in recent years, his songs are also of interest in the versions the composer made for voice and piano. In presenting the songs with piano accompaniment, Stephan Genz and Roger Vignoles bring out details that can become apparent only in this setting. Genz is known for his fine recordings of Lieder, include the award-winning CD of Beethoven’s Songs, as well as various recordings of Hugo Wolf’s Lieder (all on Hyperion). In this recording of Mahler’s music, he performs with Vignoles three complete sets of Lieder, that is, the cycles Lieder eines farhrenden Gesellen and Kindertotenlieder, as well as the set of Fünf Rückert-Lieder and, further, seven selections of settings from Mahler’s early publication of Lieder und Gesänge. »

06 Feb 2005

Handel's Julius Caesar in Denver

Stephanie Blythe recalls exactly where she was 10 years ago when she fully grasped the power of great acting in opera. Then an apprentice artist at the Metropolitan Opera in New York City, the mezzo-soprano was standing offstage about 25 feet from famed tenor Placido Domingo as he sang a love duet in “Die Walküre” with soprano Deborah Voigt. »

06 Feb 2005

Carmen at Opera Australia

IT would come as a shock to opera-goers if the cast of Carmen were suddenly to break into a chorus of Sisters are Doing it for Themselves. They might be forgiving, however, once they heard the gospel-tinged tones of American mezzosoprano Andrea Baker, who sings the title role in the Opera Australia production that begins a six-week run under the baton of Russian conductor Alexander Polianichko at the Sydney Opera House tonight. »