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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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Reviews

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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24 Jan 2005

Samson and Delilah at Opera Carolina

Maybe Camille Saint-Saens should’ve chosen his friends more carefully. When he marshaled a singer to treat them to two arias from an opera he was working on – about the biblical tale of Samson and Delilah – they scoffed. »

24 Jan 2005

Missa Solemnis at Chicago

Two of Beethoven’s most difficult yet most inspiring masterpieces, “Fidelio” and “Missa Solemnis,” are making Chicago the epicenter of a grand Beethoven festival. Each work is a heroic undertaking that tests the performers’ mettle to the utmost. And yet, with soprano Karita Mattila leading Beethoven’s only opera to triumph at Lyric Opera, and, the Chicago Symphony and Chorus delivering a strong and stirring performance of the “Missa Solemnis” this weekend at Orchestra Hall, one comes away exalted, grateful to have heard these pieces performed at the highest level. »

23 Jan 2005

Kurt Schwertsik's Katzelmacher at Neue Oper Wien

Der kabarettistisch freche Ton der Pariser Moderne der Dreißigerjah re ist es, der Kurt Schwertsik fes selt. Das bekannte er jüngst im Gespräch. Dieser Ton weist ihm offenkundig auch den Weg in Gefilde des Musiktheaters, die nichts mit den erdschweren, klangwuchernden Experimenten der deutschen und österreichischen Moderne der Nachkriegszeit zu tun haben, sondern sich am moralisierenden Unterhaltungstheater der Zwischenkriegszeit orientieren, das nicht nur von den Franzosen – in einer durchaus konsequent aus dem ursprünglichen, sozialkritischen Operetten-Esprit eines Jacques Offenbach – entwickelt wurde. »

23 Jan 2005

Cantors & Capellmeisters at Queen Elizabeth Hall

WHEN a programme contains music by Gregor Aichinger, Philipp Friedrich Böddecker, Daniel Bollius and Johann Christoph Pezel, to name only four (or is it ten?), an auditorium less than full might, unfortunately, be suspected. These are 17th-century German worthies known largely to scholars alone. But why can’t audiences be more adventurous? In that century you’re bound to get memorable tunes, catchy rhythms, enticing counterpoint: I don ’t see what the problem is. »

22 Jan 2005

A Disarming Pelléas et Mélisande

You cannot blame this longtime lover of Debussy’s “Pelléas et Mélisande” for being suspicious when L’Opéra Français de New York announced that it would present a staged production of the work in its “original version” for voices and piano. No orchestra? Wasn’t this small company simply producing the opera on the cheap? The L’Opéra Français production opened on Wednesday night at the French Institute Alliance Française on East 59th Street, and it was a revelation. »

22 Jan 2005

Così fan tutte at Wiener Staatsoper

Mag sein, manch einer findet die forsche Gangart, die Julia Jones bei Mozart einschlägt, ein wenig zu schnoddrig. Doch erweist sich: Die Dirigentin weiß in jeder Phase einer Aufführung, was sie will, behält die Übersicht über die Dramaturgie und hält Orchester und Bühne immer fein zusammen – und das in raschem Lustspielton. Alles Eigenschaften, die heutzutage offenkundig auch in der Wiener Staatsoper rar geworden sind. »

21 Jan 2005

BERLIOZ: Les Troyens

For the last couple of decades, the “concept production” has been a controversial presence on opera stages, generally director-driven and decried by traditionalists as detracting from the essence of opera which they define as “voice, voice, voice.” Here’s a refreshing and overdue variant, a production concept that is conductor-driven, devoted to rethinking the sound and casting principle appropriate for French grand opera by starting at the top with the grandest of them all. The point is often made that we now lack heroic voices for the great works. John Eliot Gardiner’s casting argues, rather convincingly I think, that “heroic” is a concept relative to an opera’s overall style and the period in which it was written. He casts in the French tradition that knows the difference between a German heldentenor whose strength lies in the middle and bottom of the voice, and a French heroic tenor, of whom is demanded a free and brilliant top and the ability to soar over ensembles with precisely focused tone. Many in this cast are associated with music of the Renaissance, Baroque and early nineteenth century. Their voices are clearer and lighter than we have become accustomed to in Les Troyens and Gardiner surrounds them with a chorus that can not only move and act with distinction, but whose voices in ensemble have the required buoyancy, flexibility and brilliance for Berlioz’s demanding choral writing. »

21 Jan 2005

An Evening With Clara's Piano

Among the often spurious partnerships beloved by musical history — Bach and Handel, Bruckner and Mahler, Britten and Tippett — that of Schumann and Brahms at least has the merit that the composers were not actually antithetical in style and manner. They were, if not a conscious partnership, a powerful joint force for the perpetuation of classical values in the 19th century, the elder — Schumann — the sponsor and active publicist of the other. Brahms was “discovered”, encouraged, sustained and venerated by Schumann. He, in turn, devoted his whole bachelor life to the succour of the Schumann family, giving rock-like support to Clara Schumann as her husband’s syphilitic madness took him over, and seeking to preserve Schumann’s oeuvre at its most illustrious and least clouded-over, withholding publication of some later works. »

21 Jan 2005

It's Shag-A-Delic, Baby!

Perhaps the Tippett centenary has come too soon, and the seven years since the composer’s death have been insufficient for his achievement to be digested and for the anniversary celebrations to take on any real significance. But no matter how much time had passed, I doubt that his third opera, The Knot Garden, will ever seem more than a period piece, wedded to the late 1960s when it was written. »

21 Jan 2005

Generallissimo Francisco Franco is still dead

After some wild recent productions it comes as a surprise to find a Don Giovanni set in Spain, as Mozart intended. How many directors care to remember that Don Giovanni’s tally of women there numbered 1,003, as Leporello’s catalogue reminds us every time we see the opera? Having decided on a Spanish setting, Opera North’s new production tries to make the most of it. Photos of bullfights are flashed across a screen to draw a glib parallel with Don Giovanni the predatory sexual toreador. The cast gird their loins for some rather dubious Spanish dances. And — most important — the time is updated to the Spanish Civil War, bringing the class antagonism of the opera into modern focus. »

20 Jan 2005

BERG: Wozzeck

Andante’s new mastering of famous live performances aims to capture what those performances might have felt like. This gives these recordings an automatic cachet of authenticity and a kind of cult status. However, much depends on the quality of the particular performance. The skill is to choose quality performances that really are interesting in themselves, and to remaster them in ways that do them justice. The Andante series comes impressively packaged, with luxuriously bound booklets, beautifully presented. However, in this case the music does not quite match the promise. Worthy as this performance is, and worthy it is indeed, it is not an ideal first choice. Artistically it is good, but best appreciated by those who know Abbado, Boulez, Dohnanyi and even Böhm’s later recording. While I’m one who listens for music, not for sound quality, in this case the sound quality is poor enough to distract – not enough to ruin listening, for it would take a lot to deter a genuine listener – but just enough to feel that you’re listening through an artificial medium. This may have been recorded live, but it doesn’t “feel” live, with the pops, crackles and occluded passages. Ultimately that defeats its own purpose. »

20 Jan 2005

Karita Mattila — A Stunning Leonore

'Fidelio' returns Lyric, cast rise above flawed Beethoven opera By John von Rhein Tribune music critic January 19 2005, 1:00 AM CST "Fidelio" has been missing in action at Lyric Opera for nearly 24 years, much too long for... »

20 Jan 2005

Live from New York — Death and Transfiguration

The level of Luciano Berio’s music was still on the ascent when he died two years ago at 77. “Stanze” – five poems for solo voice, chorus and orchestra – were his last pieces, and they shine with poise and quiet confidence. We are reminded that the possibilities of instrumental combinations are far from exhausted. The Philadelphia Orchestra under Christoph Eschenbach introduced New York to “Stanze” at Carnegie Hall on Tuesday night, adding Act III from Wagner’s “Parsifal” in concert form. Paul Celan’s “Tenebrae,” the first poem, is accompanied by drifting, attenuated chords of extraordinary beauty. If Berio’s music moves slowly, or sometimes not at all, there is activity within: textures swelling and contracting like lungs, woodwind colors swimming and undulating. So striking are the sounds that high drama is unnecessary. »

20 Jan 2005

Renée Takes Seattle

Renée Fleming came and conquered the full house Tuesday night at Benaroya Hall. Now 45, the soprano is in her prime, not only with that voluptuous voice but her musical acuity and dramatic instincts. When singers become as famous as Fleming, connoisseurs find something to criticize, often justified: a mannered style or lackluster ambition in terms of repertory, for instance. When the voice is as gorgeous and gleaming as Fleming’s, there is always the danger the singer will be content to deliver a pretty sound and little else. »

20 Jan 2005

Pelléas et Mélisande in New York

NEW YORK Sigmund Freud’s seminal “Interpretation of Dreams” was published in 1900. But Claude Debussy had already poked around in the unconscious in his landmark opera “Pelléas et Mélisande,” which he had essentially composed (though not orchestrated) by 1895. Of course, Maurice Maeterlinck, whose play Debussy adapted into his opera, had been treading through Freudian terrain even earlier. Maeterlinck, a leading figure in the Symbolist movement, which arose in the 1880s, espoused veiled emotions, mystery and indirection over realism. »

20 Jan 2005

The Russians Bomb at Kennedy Center

What were they thinking? The “Kirov Spectacular” — which opened last night at the Kennedy Center Opera House — proved the sort of celestial vaudeville that should have . . . well, gone out with vaudeville. It seemed a generous program — some three hours of selections from ballets and operas performed by the Kirov Ballet, Opera and Orchestra of the Mariinsky Theatre, under the direction of Valery Gergiev. But the pieces had little to do with one another (indeed, they could almost have been chosen by lottery) and the musical performances were too often shopworn and lackluster — a scanty reward for those who managed to find their way to the Kennedy Center through the cold, clotted streets of pre-inauguration Washington. »

19 Jan 2005

Manon Lescaut at Seattle — Two Reviews

Puccini’s “Manon Lescaut,” which Seattle Opera has produced only sporadically in its 40-year history, is a work that goes in fits and starts. Moments of genuine inspiration and compelling drama mark the composer as a man of genius, but in this early opera, his talent is not always consistent. The demands on the tenor are notoriously difficult. So, with its eyes wide open, the company mounted the third production in its history to bring in the new year Saturday night at McCaw Hall. It succeeded more than many efforts without breaking the bank, using conventional but serviceable sets and costumes from Montreal Opera. »