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Elsewhere

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance.

A stellar Ariadne auf Naxos at Investec Opera Holland Park

Strauss’s Ariadne auf Naxos is a strange operatic beast. Originally a Molière-Hofmannsthal-Strauss hybrid, the 1916 version presented in Vienna ditched Le bourgeois gentilhomme, which had preceded an operatic telling of the Greek myth of Ariadne and Theseus, and replaced it with a Prologue in which buffa met seria as competing factions prepared to present an entertainment for ‘the richest man in Vienna’. He’s a man who has ordered two entertainments, to follow an epicurean feast, and he wants these dramatic digestifs served simultaneously.

PROM 5: Debussy’s Pelléas et Mélisande

Stefan Herheim’s production of Debussy’s magnificent 1902 opera for Glyndebourne has not been universally acclaimed. The Royal Albert Hall brought with it, in this semi-staged production, a different set of problems - and even imitated some of the production’s original ones, notably the vast shadow of the organ which somewhat replicates Glyndebourne’s 1920’s Organ Room, and by a huge stretch of the imagination the forest in which so much of the opera’s action is set.

Thought-Provoking Concert in Honor of Bastille Day

Sopranos Elise Brancheau and Shannon Jones, along with pianists Martin Néron and Keith Chambers, presented a thrilling evening of French-themed music in an evening entitled: “Salut à la France,” at the South Oxford Space in Brooklyn this past Saturday, July 14th.

Dido in Deptford: Blackheath Halls Community Opera

Polly Graham’s vision of Dido and Aeneas is earthy, vigorous and gritty. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.

Summer madness and madcap high jinxs from the Jette Parker Young Artists

The operatic extracts which comprised this year’s Jette Parker Young Artists Summer Performance seemed to be joined by a connecting thread - madness: whether that was the mischievousness of Zerbinetta’s comedy troupe, the insanity of Tom Rakewell, the metaphysical distress of Hamlet, or the mayhem prompted by Isabella’s arrival at Mustafà’s Ottoman palace, the ‘insanity’ was equally compelling.

Mefistofele at Orange’s Chorégies

This is the one where a very personable devil tells God that mankind is so far gone it isn’t worth his time to bother corrupting it further.

Mascagni's Isabeau rides again at Investec Opera Holland Park

There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.

The 2018 BBC Proms opens in flamboyant fashion

Anniversaries and commemorations will, as usual, feature significantly during the 2018 BBC Proms, with the works of Leonard Bernstein, Claude Debussy and Lili Boulanger all prominently programmed during the season’s myriad orchestral, vocal and chamber concerts.

Banff’s Hell of an Orphée+

Against the Grain Theatre brought its award winning adaptation of Gluck’s opera to the Banff Festival billed as “an electronic baroque burlesque descent into hell.”

A Choral Trilogy at the Aix Festival

What Seven Stones (the amazing accentus / axe 21), and Dido and Aeneas (the splendid Ensemble Pygmalion) and Orfeo & Majnun (the ensemble [too many to count] of eleven local amateur choruses) share, and virtually nothing else, is spectacular use of chorus.

Vintage Audi — Parsifal, Kaufmann, Pape

From the Bayerisches Staatsoper Munich, Wagner Parsifal with a dream cast - René Pape, Jonas Kaufmann and Nina Stemme, Christian Gerhaher and Wolfgang Koch, conducted by Kirill Petrenko, directed by Pierre Audi. The production is vintage Audi - stylized, austere, but solidly thought-through.

Flight Soars High in Des Moines

Jonathan Dove’s innovative opera Flight is being lavished with an absolutely riveting new production at Des Moines Metro Opera’s resoundingly successful 2018 Festival.

Fledermaus Pops the Cork in Iowa

Like a fizzy bottle of champagne, Des Moines Metro Opera uncorked a zesty tasting of Johan Strauss’s vintage Die Fledermaus (The Bat).

A spritely summer revival of Falstaff at the ROH

Robert Carson’s 2012 ROH Falstaff is a bit of a hotchpotch, but delightful nevertheless. The panelled oak, exuding Elizabethan ambience, of the first Act’s gravy-stained country club reeks of the Wodehouse-ian 1930s, but has also has to serve as the final Act’s grubby stable and the Forest of Windsor, while the central Act is firmly situated in the domestic perfection of Alice Ford’s 1950s kitchen.

Down on the Farm with Des Moines’ Copland

Ingenious Des Moines Metro Opera continued its string of site-specific hits with an endearing production of Aaron Copland’s The Tender Land on the grounds of the Maytag Dairy farm.

Des Moines’ Ravishing Rusalka

Let me get right to the point: This is the Rusalka I have been waiting for all my life.

L'Ange de feu (The Fiery Angel)
in Aix

Prokofiev’s Fiery Angel is rarely performed. This new Aix Festival production to be shared with Warsaw’s Teatr Wielki exemplifies why.

Ariane à Naxos (Ariadne auf Naxos) in Aix

Yes, of course British stage director Katie Mitchell served up Richard Strauss’ uber tragic Ariadne on Naxos at a dinner table. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps.

The Skating Rink: Garsington Opera premiere

Having premiered Roxanna Panufnik’s opera Silver Birch in 2017 as part of its work with local community groups, Garsington Opera’s 2018 season included its first commission for the main opera season. David Sawer's The Skating Rink premiered at Garsington Opera this week; the opera is based on the novel by Chilean writer Roberto Bolano with a libretto by playwright Rory Mullarkey.


OPERA TODAY ARCHIVES »

Reviews

<em>L’Ange de Nisida</em>: Opera Rara at the Royal Opera House
19 Jul 2018

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance. »

Recently in Reviews

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23 Jun 2018

Siegfried in San Francisco

We discover the child of incestuous love, we ponder a god’s confusion, we anticipate an awakening. Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production. »

23 Jun 2018

Boris Godunov in San Francisco

Yes, just when you thought Wotan was the only big guy in town San Francisco Symphony (just across a small street from San Francisco Opera), offered three staged performances of the Mussorgsky masterpiece Boris Godunov in direct competition with San Francisco Opera’s three Ring des Nibelungen cycles. »

19 Jun 2018

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage. »

18 Jun 2018

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.  »

18 Jun 2018

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile. »

17 Jun 2018

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference! »

16 Jun 2018

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.  »

14 Jun 2018

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.  »

14 Jun 2018

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.  »

13 Jun 2018

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay. »

13 Jun 2018

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’. »

12 Jun 2018

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera. »

10 Jun 2018

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece, »

10 Jun 2018

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot. »

09 Jun 2018

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice. »

08 Jun 2018

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’. »

07 Jun 2018

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.  »

05 Jun 2018

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.  »

05 Jun 2018

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.  »

05 Jun 2018

A culinary coupling from the Guildhall School of Music and Drama

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.  »

03 Jun 2018

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?  »

03 Jun 2018

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)  »

01 Jun 2018

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer. »

30 May 2018

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them. »

30 May 2018

The Devil, Greed, War, and Simple Goodness: Ostrčil’s Jack’s Kingdom

Here is a little-known opera that, like an opera by the Swedish composer Laci Boldemann that I have reviewed here, and like Ravel’s amazing L’enfant et les sortilèges‡, utterly bypasses the usual categories of comic and grand/tragic by cultivating instead the rich realm of fantasy and folk tale. »

29 May 2018

Iestyn Davies and Fretwork bring about a meeting of the baroque and the modern

‘Music for a while/Shall all your cares beguile’. Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern. »

27 May 2018

BLACK OPERA: HISTORY, POWER, ENGAGEMENT

A musical challenge to our view of the past »

26 May 2018

Works by Beethoven and Gerald Barry

As a whole, this concert proved a curious affair. It probably made more sense in the context of Thomas Adès’s series of Beethoven and Barry concerts with the Britten Sinfonia. The idea of a night off from the symphonic Beethoven to turn to chamber works was, in principle, a good one, but the sole Gerald Barry piece here seemed oddly out of place – and not in a productive, provocative way. Even the Beethoven pieces did not really seem to fit together especially well. A lovely performance of the op.16 Quintet nevertheless made the evening worthwhile. »

24 May 2018

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.  »

23 May 2018

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018. »

23 May 2018

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.  »

22 May 2018

No Time in Eternity: Iestyn Davies discusses Purcell and Nyman

Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall. »

21 May 2018

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection. »