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Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.

And London Burned: in conversation with Raphaela Papadakis

Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Center for Contemporary Opera presents Jane Eyre (World Premiere)

Louis Karchin’s Jane Eyre, a full-length opera in three acts with a libretto by Diane Osen based on Charlotte Bronte’s novel, will receive its world premiere at The Kaye Playhouse (Hunter College) on Thursday, October 20, 7:30pm with a second performance on Saturday, October 22, 8pm. Jane Eyre is Karchin’s second opera, composed in 2014, following his critically acclaimed one-act comic opera Romulus.

A Venetian Double: English Touring Opera

Francesco Cavalli’s La Calisto was the composer’s fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.

Boston Early Music Festival announces the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director

Cambridge, MA–The Boston Early Music Festival (BEMF) is pleased to announce the appointment of Melinda Sullivan to the new position of the Lucy Graham Dance Director.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Walter Braunfels : Orchestral Songs Vol 1

New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.



Jamie Barton’s Wigmore Hall debut
24 Oct 2016

Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition. »

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08 Sep 2016

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments. »

03 Sep 2016

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.  »

31 Aug 2016

Prom 60: Bach and Bruckner

Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim…) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works. »

30 Aug 2016

Prom 57: Semyon Bychkov conducts the BBCSO

Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’. »

29 Aug 2016

40 minutes with Barbara rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.  »

27 Aug 2016

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death. »

26 Aug 2016

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.  »

22 Aug 2016

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam. »

22 Aug 2016

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.  »

21 Aug 2016

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp. »

19 Aug 2016

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?  »

18 Aug 2016

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus. »

17 Aug 2016

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.  »

17 Aug 2016

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.  »

16 Aug 2016

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater. »

15 Aug 2016

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum. »

15 Aug 2016

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.  »

15 Aug 2016

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest. »

12 Aug 2016

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera. »

11 Aug 2016

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.  »

09 Aug 2016

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa. »

09 Aug 2016

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe. »

09 Aug 2016

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West. »

09 Aug 2016

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia. »

09 Aug 2016

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters. »

08 Aug 2016

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder. »

05 Aug 2016

Cosi fan tutte in Salzburg

This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning. »

05 Aug 2016

The Exterminating Angel in Salzburg

Zeitgeist or what? What Luis Bunuel's 1962 Franco era film El àngel exterminador may mean to composer Thomas Adès' 2016 opera The Exterminating Angel.  »

04 Aug 2016

The Queen of Spades, Opera Holland Park

The Queen of Spades has been doing rather well in and around London of late. I have only seen two stagings recently before this, but know of quite a few others. Of those: Opera North offered a rare lapse at the Barbican, about which the less said, the better; ENO, last year, offered strong vocal performances but a truly catastrophic production. All in all, then, Holland Park, as so often, came off best.  »

04 Aug 2016

Prom 25: the dark, soulful realms of Bluebeard and Dvořák

Dvořák’s cello concerto is certainly one of the best known works for the instrument, and probably one of the best loved. Its Bohemian sensibility is by turns heroic, ebullient, poetic and wistful. Its soulfulness can inspire bravura impulsiveness from a soloist, as well as warm lyricism. »

31 Jul 2016

Prom 20: Berlioz, Romeo and Juliet

Saturday night seems to be Berlioz-Shakespeare night. After last week’s new production of Béatrice and Bénédict at Glyndebourne, yesterday evening it was the turn of the Sir John Eliot Gardiner’s Orchestre Révolutionnaire et Romantique and Monteverdi Choir, with the National Youth Choir of Scotland, to tell us a Shakespearean tale à la française. Not a ‘merry war’ this time, but the star-crossed strife and fatal misunderstandings of Romeo and Juliet. »

31 Jul 2016

Prom 18: Mahler, Symphony No.3

Bernard Haitink has what is absolutely necessary, yet more often than not lacking, to conduct a Mahler symphony, indeed to conduct any symphony worthy of the name: the ability to hear it in a single span and to communicate in performance that ability. That is not, of course, in itself enough to ensure a successful, let alone a great, performance, but its absence will be fatal. »

31 Jul 2016

Munich Opera Festival Baroque Concert: Music from the Court of Louis XIV

In many respects, this second ‘Festspiel-Barockkonzert’ made for an intriguing pendant to the previous night’s premiere of Les Indes galantes. All of the music was earlier than Rameau’s opéra-ballet, some of that in the first half - the programme was broadly but not pedantically chronological - considerably earlier.  »

29 Jul 2016

Les Indes galantes, Bavarian State Opera

Baroque opera has long been an important part of the Bavarian State Opera’s programming. And beyond the company itself, Munich’s tradition stretches back many years indeed: Kubelík’s Handel with the Bavarian Radio Symphony Orchestra, for instance.  »