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Elsewhere

Glyndebourne’s first production of Dialogues des Carmélites to open Glyndebourne Festival 2020

Glyndebourne’s first production of Poulenc’s Dialogues des Carmélites will open Glyndebourne Festival 2020, it was announced today. The opera house unveiled its 2020 plans at an event in its recently built Production Hub, hosted by Glyndebourne’s new senior leadership team, Artistic Director Stephen Langridge and Managing Director Sarah Hopwood, who jointly replace the former position of General Director.

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Garsington Opera Announces 2020 season and 2019 Paris Performance

Garsington Opera is delighted to announce the 2020 season that will open on 28 May, featuring three new productions - Verdi’s Un giorno di regno, Mozart’s Mitridate, re di Ponto, Dvořák’s Rusalka and a revival of John Cox’s legendary production of Beethoven’s Fidelio.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

David McVicar's Andrea Chénier returns to Covent Garden

Is Umberto’s Giordano’s Andrea Chenier a verismo opera? Certainly, he is often grouped with Mascagni, Cilea, Leoncavallo and Puccini as a representative of this ‘school’. And, the composer described his 1876 opera as a dramma de ambiente storico.

Glyndebourne presents Richard Jones's new staging of La damnation de Faust

Oratorio? Opera? Cantata? A debate about the genre to which Berlioz’s ‘dramatic legend’, La damnation de Faust, should be assigned could never be ‘resolved’.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Hampstead Garden Opera presents Partenope-on-sea

“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.

Henze's Phaedra: Linbury Theatre, ROH

A song of love and death, loss and renewal. Opera was born from the ambition of Renaissance humanists to recreate the oratorical and cathartic power of Greek tragedy, so it is no surprise that Greek myths have captivated composers of opera, past and present, offering as they do an opportunity to engage with the essential human questions in contexts removed from both the sacred and the mundane.

Un ballo in maschera at Investec Opera Holland Park: in conversation with Alison Langer

“Sop. Page, attendant on the King.” So, reads a typical character description of the loyal page Oscar, whose actions, in Verdi’s Un ballo in maschera, unintentionally lead to his monarch’s death. He reveals the costume that King Gustavo is wearing at the masked ball, thus enabling the monarch’s secretary, Anckarstroem, to shoot him. The dying King falls into the faithful Oscar’s arms.

Martin Duncan directs the first UK staging of Offenbach's Fantasio at Garsington

A mournful Princess forced by her father into an arranged marriage. A Prince who laments that no-one loves him for himself, and so exchanges places with his aide-de-camp. A melancholy dreamer who dons a deceased jester’s motley and finds himself imprisoned for impertinence.

Thomas Larcher's The Hunting Gun at the Aldeburgh Festival: in conversation with Peter Schöne

‘Aloneness’ does not immediately seem a likely or fruitful subject for an opera. But, loneliness and isolation - an individual’s inner sphere, which no other human can truly know or enter - are at the core of Yasushi Inoue’s creative expression.

Actress x Stockhausen Sin {x} II - a world premiere

Is it in any sense aspirational to imitate - or even to try to create something original - based on one of Stockhausen’s works? This was a question I tried to grapple with at the world premiere of Actress x Stockhausen Sin {x} II.

The London Handel Festival and The Royal Opera announce a co-production of Handel’s Susanna starring members of The Royal Opera’s Jette Parker Young Artists Programme

The London Handel Festival and The Royal Opera today [14 May 2019] announced a co-production of Handel’s oratorio Susanna as part of the 2020 London Handel Festival. The new production, performed in English in the Linbury Theatre [5 - 14 March 2020], will star members and Link Artists from The Royal Opera’s Jette Parker Young Artists Programme. Handel’s Susanna was written for Covent Garden and had its premiere on the site in 1749, but has not been performed at Covent Garden since.

Royal Opera House announces 17 new productions for its 2019/20 Season

The Royal Opera House today launches its 2019/20 Season, unveiling an exciting range of new commissions, world premieres and much-loved revivals, supported by a diverse range of ticketed and free daytime events, activities and festivals for people of all ages. In the first full Season since the completion of the Royal Opera House’s three-year Open Up renovation, The Royal Opera Company unveils a host of innovative new work, with 13 new productions, including two world premieres, in the Season ahead.

The BBC Singers and the Academy of Ancient Music join forces for Handel's Israel in Egypt

The biblical account of the Exodus of the Israelites from Egypt is the defining event of Jewish history. By contrast, Handel’s oratorio Israel in Egypt has struggled to find its ‘identity’, hampered as it is by what might be termed the ‘Part 1 conundrum’, and the oratorio has not - despite its repute and the scholarly respect bestowed upon it - consistently or fully satisfied audiences, historic or modern.

Measha Brueggergosman: The Art of Song – Ravel to John Cage

A rather charming story recently appeared in the USA of a nine-year old boy who, at a concert given by Boston’s Handel and Haydn Society, let out a very audible “wow” at the end of Mozart’s Masonic Funeral Music. I mention this only because music – whether you are neurotypical or not – leads to people, of any age, expressing themselves in concerts relative to the extraordinary power of the music they hear. Measha Brueggergosman’s recital very much had the “wow” factor, and on many distinct levels.

In interview with Polly Graham, Artistic Director of Longborough Festival Opera

What links Wagner’s Das Rheingold, Donizetti’s Anna Bolena, Mozart’s Don Giovanni and Cavalli’s La Calisto? It sounds like the sort of question Paul Gambaccini might pose to contestants on BBC Radio 4’s music quiz, Counterpoint.

World premiere of Cecilia McDowall's Da Vinci Requiem

The quincentennial of the death Leonardo da Vinci is one of the major events this year – though it doesn’t noticeably seem to be acknowledged in new music being written for this.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.


OPERA TODAY ARCHIVES »

Reviews

24 May 2019

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.  »

Recently in Reviews

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04 Feb 2017

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.  »

04 Feb 2017

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules. »

30 Jan 2017

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.  »

26 Jan 2017

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience. »

25 Jan 2017

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,  »

25 Jan 2017

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch. »

24 Jan 2017

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women. »

22 Jan 2017

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.  »

22 Jan 2017

Baroque at the Edge: London Festival of Baroque Music, 12-20 May 2017

On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era. »

22 Jan 2017

OPERA RARA AUCTION: online auction for opera lovers worldwide

On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury. »

18 Jan 2017

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’. »

17 Jan 2017

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’ »

17 Jan 2017

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.  »

16 Jan 2017

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.  »

15 Jan 2017

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.  »

03 Jan 2017

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera. »

03 Jan 2017

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”. »

02 Jan 2017

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures. »

24 Dec 2016

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.  »

24 Dec 2016

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock. »

23 Dec 2016

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press. »

23 Dec 2016

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).  »

22 Dec 2016

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment. »

19 Dec 2016

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier. »

14 Dec 2016

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance! »

12 Dec 2016

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.  »

12 Dec 2016

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.  »

07 Dec 2016

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss. »

06 Dec 2016

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.  »

06 Dec 2016

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met. »

05 Dec 2016

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.  »