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Elsewhere

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.


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Reviews

17 Mar 2019

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas. »

Recently in Reviews

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16 Nov 2016

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre. »

16 Nov 2016

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities. »

15 Nov 2016

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.  »

13 Nov 2016

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’. »

13 Nov 2016

Beat Furrer FAMA - Hörtheater reaches London

Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences »

13 Nov 2016

Franz Schreker : Die Gezeichneten (Les Stigmatizés). Lyon

Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".  »

12 Nov 2016

The Anatomy of Melancholy

Semper Dowland, semper dolens (Always Dowland, always doleful) was the title chosen by John Dowland’s for one of his consort pieces and the motto that he took for himself. Twice rejected for the position of musician at the court of Queen Elizabeth, he is reputed to have been a difficult, embittered man. Melancholy songs were the fashion of the day, but Dowland clearly knew dark days of depression first hand.  »

11 Nov 2016

Aida in San Francisco

An exquisite pit, a Busby Berkeley stage, ingenue performers. Populist opera in San Francisco — in November eleven performances of Aida (alternating with ten of Madama Butterfly). »

10 Nov 2016

Oreste at Wilton's Music Hall

Handel’s pasticcio, Oreste, with its mythological core and Roman source libretto, is a Classical beast: it pits barbarous human cruelty versus man’s potential for grace and gentility. Director Gerard Jones’ production at Wilton’s Music Hall, for the Royal Opera house, dispenses with ethical dilemmas - and questions of love and loyalty - and gives us a comic-strip bloodbath which is less a blend of mythological dysfunctionality and moral consolation, and more a mal-functional cross-breed of Tarantino, Hammer House of Horror and the Rocky Horror Show. »

08 Nov 2016

Heresy, Electronic Opera in Dublin About Giordano Bruno

Travellers to Rome may have noticed that in the middle of the vegetable market, the Campo Dei Fiori, there is a statue in memory of the Dominican friar, philosopher, scientist and poet, Giordano Bruno, who was tried as a heretic in 1593 and burned at the stake in 1600.  »

08 Nov 2016

A New Das Rheingold at Lyric Opera of Chicago

With the premiere of Das Rheingold on opening night of the 2016-17 season Lyric Opera of Chicago has initiated a new Ring Cycle to be staged over multiple seasons. Both cast and vision for this production of the first of the four Ring operas make a strong, individual impression. The scenic division of Das Rheingold into four parts is realized with inventive, seamless coherence, a signal for the totality of this unfolding Cycle.  »

08 Nov 2016

Bare Opera Proves Opera is as Relevant as Ever in a Fresh-Faced La Cambiale di Matrimonio

“Opera is so old-fashioned!” Thus was the mantra adopted by the Bare Opera cast following a funny, awkward pre-show announcement by Executive Producer Kirsten Scott.  »

06 Nov 2016

Wexford Festival Opera 2016

This year’s Wexford Festival was all about the women. Deluded, dangerous, depressed, deranged, they stood centre-stage and commanded the emotional territory. »

03 Nov 2016

Opera Las Vegas Spook-tacular Halloween Concert

On Saturday evening October 29, 2016, Opera Las Vegas held a concert in a most elegant private home. After a glass of wine and some delicious hors d’oeuvres, members of the audience, most of whom were in costume, retreated to a salon that held some seventy chairs. With a grand piano in front and an “off stage” area to the side, the salon was as close to a concert hall as could be found in a private home. »

03 Nov 2016

A magnetic performance by Christiane Karg

The always stimulating Iván Fischer consistently validates himself as an innovative conductor with his fresh approaches. Last May, his soul-crushing performance of Mozart’s Requiem with his Budapest Festival Orchestra at the Concertgebouw left me a sobbing mess at the end, so hearing him lead the Berliner Philharmoniker in Mozart was a must.  »

03 Nov 2016

Christian Gerhaher sings Mahler’s Das Lied von der Erde in Berlin

As Bernard Haitink’s bout with the Royal Concertgebouw Orchestra has finally been resolved, we in Amsterdam still have to wait for his return to his former homebase till this coming February. So I was thrilled to hear him in Berlin conduct Mahler’s Das Lied von der Erde with the Berliner Philharmoniker. It turned out to be historical evening. Not just because of attendance by the Swedish King and Queen, but also because baritone Christian Gerhaher performed the by Mahler preferred alto role, in an extraordinarily deep “Der Abschied”. Haitink did not disappoint in this spectacular affair. »

01 Nov 2016

A Russian double bill from the GSMD

The Guildhall School of Music and Drama have taken on quite a challenge in selecting two rarely performed Russian operas for their autumn double bill. Stravinsky’s Mavra (1922) blends satire with suburban inconsequentialities while Tchaikovsky’s Iolanta (1892) mixes fantasy and myth; but both operas are characterised by an emotional directness which the young singers and musicians of the GSMD, under conductor and Head of Opera Studies Dominic Wheeler, successfully communicated. »

31 Oct 2016

The Tallis Scholars: Josquin's Missa Di dadi

‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.  »

27 Oct 2016

San Diego Opera Presents Charming Cinderella

On Saturday, October 22, San Diego Opera opened its main stage season with Rossini’s comic opera, Cinderella (La Cenerentola). Lindy Hume’s production had already worked it intrinsic magic in Australia, New Zealand, and Leipzig, Germany but this was its first run of performances in the United States. »

26 Oct 2016

Macbeth, LA Opera

On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.  »

26 Oct 2016

COC’d Up Ariodante

Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point. »

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. »

24 Oct 2016

Toronto: Bullish on Bellini

Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery. »

23 Oct 2016

Arizona Opera’s Sapphire Celebration

On Saturday evening October 15, 2016, Arizona Opera celebrated forty-five unbroken years of presenting opera. The company first presented Rossini’s The Barber of Seville in Tucson and a few years later it was performing five operas per year in both Tucson and Phoenix.  »

23 Oct 2016

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!” »

22 Oct 2016

The Source, an Important New Stage Work

On October 20, 2016, Los Angeles Opera’s Off Grand Series presented librettist Mark Doten and composer Ted Hearne’s The Source at the Roy and Edna Disney Cal Arts Theater. “REDCAT” is a one-hundred seat auditorium in the Disney Hall complex.  »

21 Oct 2016

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.  »

20 Oct 2016

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. »

18 Oct 2016

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.  »

14 Oct 2016

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.  »