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Elsewhere

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

OperaStreaming announces second season of nine new productions from the opera houses of Emilia-Romagna, free to view on YouTube

Following its successful launch in 2019, OperaStreaming streams nine operas on YouTube from the historic opera houses of Emilia-Romagna during the 2020-21 season, with fully-staged productions of Verdi's La traviata in October from Modena and Verdi'sOtello from Bologna in...

Connections Across Time: Sholto Kynoch on the 2020 Oxford Lieder Festival

‘A brief history of song’ is the subtitle of the 2020 Oxford Lieder Festival (10th-17th October), which will present an ambitious, diverse and imaginative programme of 40 performances and events.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Bampton Classical Opera 2020: Gluck's The Crown at St John's Smith Square

Bampton Classical Opera returns to the Baroque splendour of London’s St John’s Smith Square on November 6 with a concert performance of Gluck’s one-act opera The Crown, the first in the UK since 1987. The performance will also be filmed and available to watch on demand on the Bampton website from 9 November.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

A new opera written during lockdown with three different endings to choose from to premiere this October as part of Wexford Festival Opera

While many of us spent lockdown at home taking it a little easier, composer Andrew Synnott wrote an opera.

Grange Park Opera presents Britten’s Owen Wingrave, filmed on location in haunted houses in Surrey and London

Owen Wingrave is part of the new Interim Season of 19 brand new events, all free to view online between September and December 2020.

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Music and Theatre For All launches three major new projects supported by The Arts Council

The Arts Council has awarded innovative UK charity Music and Theatre For All (MTFA) a major new grant to develop three ambitious new projects in the wake of Covid 19.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

English National Opera to reopen the London Coliseum with performances of Mozart’s Requiem

English National Opera (ENO) will reopen the London Coliseum to socially distanced audiences on 6 and 7 November for special performances of Mozart’s Requiem. These will provide audiences with an opportunity to reflect upon and to commemorate the difficulties the nation has faced during the pandemic.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

The Royal Opera House launches autumn digital programme with a new series of Friday Premieres and screenings on Sky Arts

The Royal Opera House is proud to continue its curated #OurHouseToYourHouse programme into the autumn, bringing audiences the best of the ROH through a new series of Friday Premieres and cultural highlights.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.


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Tacet
23 Sep 2020

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.  »

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10 Mar 2005

KÁLMÁN: Die Csárdásfürstin

Emmerich Kálmán’s name may be familiar primarily to music lovers d’un certain âge, but between the world wars his operettas were as popular as those of Léhar and Strauss on both sides of the Atlantic. Die Csárdásfürstin (The Gypsy [or Czardas] Princess), which premiered in Vienna in 1915, is his best known, and for good reason. Its book by Leo Stein and Béla Jenbach sparkles and delights, but with reversals of fortune that leave the audience wondering until the last minute how love’s complications will be resolved. The Budapest-born Kálmán (1882–1953; his fellow composition students included Béla Bartók and Zoltán Kodály) apparently was weaned on his homeland’s melodies and czardas, which he mixes generously with Austrian waltzes to create a glorious portrait of the twilight years of the Austro-Hungarian Empire. The piece played the New Amsterdam Theater in New York in 1917 as The Riviera Girl, with a new book by Guy Bolton and P. G. Wodehouse and added numbers by Jerome Kern. »

08 Mar 2005

Ring des Nibelungen at the Wiener Staatsoper

An der Wiener Staatsoper ist Wagners “Ring des Nibelungen” derzeit in der Inszenierung von Adolf Dresen zu sehen – das nächste Mal am 12., 17., 24. April und am 1. Mai unter der musikalischen Leitung der Australierin Simone Young. Wer der altbacken und teilweise lächerlich wirkenden Produktion überdrüssig ist, muss bis 2007 warten: Am 2. Dezember hat Sven-Eric Bechtolfs Neuproduktion der “Walküre” in Wien Premiere, am Pult steht Franz Welser-Möst. Die beiden sind ein eingespieltes Team. Bis 2009 wird der Regisseur, der am Burgtheater den “Reigen”, “Cyrano de Bergerac” und “Leonce und Lena” inszeniert hat, auch die drei anderen Teile der Tetralogie in Szene setzen. Zu seinem Konzept wollte er noch nicht viel verraten. Er sehe Wotan aber nicht “mit Aktenkoffer” über die Bühne wandern und kann sich auch Walhall “nicht als Großraumbüro” vorstellen. Bechtolf spielte damit auf die heftig gescholtene Bayreuther Ring-Inszenierung von Jürgen Flimm an, die im August 2004 das letzte Mal über die Bühne gegangen war. »

08 Mar 2005

Die Walküre at Covent Garden

Any production of Wagner’s Ring cycle needs some kind of coherence, so it is logical for a staging of Die Walküre to continue where the previous instalment, Das Rheingold, left off. In the case of the Royal Opera’s new production, though, that turns out to be not such a good thing at all. »

08 Mar 2005

BRITTEN: Canticles I–V, The Heart of the Matter

Benjamin Britten is usually thought of as a musical dramatist on a large, operatic scale, but the instinct (or perhaps the inner necessity) to capture psychological conflict in music burst through in his smaller musical forms as well. His five canticles (not to be confused with the church parables) mirror Britten’s artistic growth in his operas and other large-scale works from the late 1940s until shortly before his death. »

08 Mar 2005

The Origin of Fire: Music and Visions of Hildegard von Bingen

This last in the contributions of Anonymous 4 to the performance of medieval music is a selection of thematically related texts – most by Hildegard von Bingen – dealing with a spiritual or religious fire. Those renditions of traditional hymns, such as “Veni Creator Spiritus” and “Veni Spiritus eternorum alme,” are interspersed with works of Hildegard’s composition. Some of these are based on her prose visions, e.g. “Et ego homo non calens,” identified topically as “The fire of creation,” a depiction of which is also used for the cover illustration. The prose texts are provided with musical adaptations of plainsong by Anonymous 4. “The fire of creation” was performed using plainchant, and Hildegard’s vision “The fiery spirit” was adapted to a two-voice lection tone from Christmas matins of Polish origin. »

08 Mar 2005

VERDI: Les Vêpres Siciliennes

In 1847, Giuseppe Verdi revised his opera I Lombardi alla prima crociata (1843) into a work for the Parisian stage. This “new” composition, featuring extensive plot changes, new music, and the requisite ballet, is considered better than the original upon which it was based. A reverse fate awaited Verdi’s next work for Paris, the grand opéra Les Vêpres Siciliennes, which premiered at the Opéra in 1855. Although it was performed there, with minor changes, until 1863, attempts to get the work past censors in Italy failed, for tales of successful revolutions simply were not permitted on the Risorgimento stage. After a poor translation of the opera entitled Giovanna de Guzman made the circuits, Verdi revisited the score in 1856, and, removing the ballet, created I vespri sicilani. This inferior version, which employs much of Giovanna de Guzman’s text, is unfortunately the one that has remained in the repertory. »

08 Mar 2005

Handel's Il trionfo at the Barbican

GROUCHO MARX once quipped: “I knew Doris Day before she was a virgin.” Bizarrely, that flashed through my mind as I was gripped, ravished and finally moved to tears by this early Handel oratorio. Here was George Frideric before he became, if not a virgin, then something even more pious: the stately, sedate cheerleader for the Hanoverian dynasty. »

07 Mar 2005

EVERETT: The Musical — A Research and Information Guide

Much current popular culture assumes that its audience is knowledgeable of the American musical. References to, and parodies of, specific musicals are frequently a part of episodes of The Simpsons and South Park, and ads for companies as diverse as The Gap and the World Wrestling Entertainment promotion recently have restaged numbers from West Side Story to plug their products or events. Rarely, if ever, are the sources acknowledged; it is simply taken for granted that a general audience will understand the quotations and parodies. »

07 Mar 2005

STRAUSS: Die Fledermaus

Film freezes time and even serves to transport an enrapt viewer into its temporal world. Viewers of the recent DVD release of a December 1980 performance of Strauss’ operetta classic, Die Fledermaus, may not be quite as ecstatic as the local audience, but resistance is futile. Have some champagne ready for the curtain calls. Lovers of this art form will rejoice, and even the operetta-resistant (of which your reviewer is one) must succumb to the energy, star power, and sheer good will of all involved. »

07 Mar 2005

New Music in Boston

The Fromm Music Foundation has been a resident at Harvard for 32 years, commissioning new works and underwriting new-music activity in several venues, including Tanglewood. »

07 Mar 2005

Don Carlo at the Met

“Don Carlo” is Verdi’s “Hamlet.” It’s always an event when the Metropolitan Opera brings back John Dexter’s striking 1979 production of this long, complex, musically profound and psychologically perceptive work, based on Schiller’s play about the indecisive young crown prince Don Carlo and his brutish father, Philip II of Spain, during the madness that was the Inquisition. »

07 Mar 2005

Harnoncourt's Poppea in London

PRACTICALLY my first assignment as a cub critic was to review Nikolaus Harnoncourt conducting Zurich Opera’s production of The Coronation of Poppea. That was in 1978, but I still recall the elation I felt at hearing this great Baroque pioneer sweep centuries of dust from Monteverdi’s masterpiece. »

07 Mar 2005

Manon Lescaut in Essen

Essen. Es ist keine Sternstunde für das erfolgsverwöhnte Essener Aalto-Theater. Warum Generalmusikdirektor Stefan Soltesz Giacomo Puccinis Jugendwerk “Manon Lescaut” ins Programm hob, ist rätselhaft. Denn es liegt mit der gleichnamigen Oper des französischen Komponisten Jules Massenet ein qualitativ weitaus anspruchsvolleres Werk vor. Und hätte er den Mut zur Gegenwart gehabt, hätte sich Hans-Werner Henzes “Boulevard Solitude” angeboten. Ob dies erklärt, dass Soltesz bei der Premiere gleich der 1. Akt zum verhetzten Parforce-Ritt missriet? Immerhin wusste er im weiteren Verlauf den Essener Philharmonikern doch noch die feineren Harmonien zu entlocken, an denen es hier ja nun nicht völlig mangelt. »

06 Mar 2005

A Minimalist Entführung aus dem Serail

Die zwei Pärchen in Mozarts “Entführung aus dem Serail” haben ohnehin genug Schwierigkeiten zu überwinden, bis sie endlich auf ihrem Schinakel gen Westen fahren dürfen. Vor dem mutigen Versuch des “Letzten Erfreulichen Operntheaters”, das Singspiel nur mit Klavier, Oboe und Flöte instrumentiert auf ihre Kellerbühne zu stellen, türmte sich bei der zweiten Vorstellung ein weiteres Hindernis auf: die Grippe-bedingte Absage des Osmin-Darstellers. Gerade aus dem dadurch nötigen Provisorium erwuchsen dem Abend aber die besten Momente. »

06 Mar 2005

A Preview of Un ballo in maschera in Kansas City

In the resonant, garishly lighted basement of Trinity United Methodist Church, art is imitating life. »

06 Mar 2005

Nozze in Baltimore

Human beings will always be good for a laugh, especially when they’re in full pursuit of sex. »

06 Mar 2005

PUCCINI: La Bohème

Even for a jaded reviewer like this one who has seen innumerable Bohème’s all over the world, there comes a moment in the third act when music and production simply take precedence over intellectual curiosity: the old magic works again and one is moved by the fate of these youngsters. High praise indeed for the famous Zeffirelli-production, born in 1963 at La Scala together with a juicy scandal when Di Stefano was ousted and replaced by Gianni Raimondi. »

06 Mar 2005

Fidelio at Carnegie Hall

Beethoven’s “Fidelio” is an opera about freedom that is shackled by a limited libretto. A great performance can unlock its treasures. A mediocre one can feel like prison, as the Collegiate Chorale’s performance on Thursday night at Carnegie Hall underlined. It was a long and murky night, although there were many glints of bright light that tantalizingly shone through. »

05 Mar 2005

ZEMLINSKY: Une Tragédie Florentine

The operas of the Austrian composer Alexander von Zemlinsky (1871-1942) continue to fascinate audiences with their combination of carefully composed music and well-selected librettos. After using fairy-tale elements in his early operas, such as Sarema (1897), Es war einmal (1900), and Der Traumgörge (1905-6), Zemlinsky turned to Renaissance settings for Eine florentinische Tragödie (1917) and Der Zwerg (1922). In fact, Zemlinsky’s Florentinische Tragödie is based the dramatic fragment A Florentine Tragedy, by Oscar Wilde, whose works intrigued other composers of the time. Beyond the provocative drama Salome set by Richard Strauss, Franz Schreker used a story by Wilde as the basis for his ballet Die Geburtstag der Infantin (1908). »

05 Mar 2005

SCHOENBERG: Gurrelieder

Schoenberg for lovers. Sounds like an oxymoron, but in fact there is enough passion in the too seldom heard Gurrelieder to make even Valentine blush. We know Schoenberg largely from the atonal and dodecaphonic later works (and most listeners know of these mostly by inaccurate rumor). But we forget all too often the fact that Schoenberg had an early period, much of which is readily accessible to conservative tastes. Gurrelieder is the sort of diamond in the crown of this period, a long cantata-like adventure, some two hours in full. Scored for an enormous orchestra, four choirs, and speaker, and five soloists, the work is the logical conclusion of the nineteenth-century penchant for Texas-style excess when it comes to orchestration: you can’t get any bigger than this without havin’ to build a second story. »

04 Mar 2005

Stiffelio at Sarasota Opera

SARASOTA — Many operas are all about the music, but in “Stiffelio” composer Giuseppe Verdi paid a lot more attention than usual to the words. »

04 Mar 2005

Ravel and Poulenc at the Barbican

On paper, Ravel’s mock-Spanish “comédie musicale” (1904) and Poulenc’s mock-everything “opéra bouffe” (1944) should make a toothsome double bill. Less than an hour each, elegantly funny in quite different veins – and excellent for the Guildhall School of Music and Drama, for no heroic voices are required. But the team’s Ravel proved a lame affair, and its Poulenc – sung in English, with the same director (Stephen Langridge) and conductor – a delight. »