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Elsewhere

Isouard's Cinderella: Bampton Classical Opera at St John's Smith Square

A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths.

The Royal Opera House lets everyone in on the act

The Royal Opera House today opens the doors to its transformed new home, following an extensive three-year construction project.

A Winterreise both familiar and revelatory: Ian Bostridge and Thomas Adès at Wigmore Hall

‘“Will you play your hurdy-gurdy to my songs?” the wanderer asks. If the answer were to be a “yes”, then the crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again. This could explore a notion of eternal recurrence: we are trapped in the endless repetition of this existential lament.’

Stars of Lyric Opera at Millennium Park, 2018

Lyric Opera of Chicago’s annual concert, Stars of Lyric Opera at Millennium Park, given during last weekend, was both a tribute to the many facets of opera and a preview of what lies ahead in the upcoming repertoire season.

Classical Opera: Bastien und Bastienne on Signum Classics

Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.

A Stunning Semiramide from Opera Rara

In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.

Dorothea Röschmann at Wigmore Hall: songs by Schumann, Wolf and Brahms

One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign. It certainly did not here, in a wonderfully involving recital of songs by Schumannn, Wolf, and Brahms from Dorothea Röschmann and Malcolm Martineau.

Two of Garsington Opera's 2018 productions to reach a wider audience

Garsington Opera is delighted to announce that on Saturday 6 October, BBC Radio 3’s ‘Opera on 3’, will broadcast the production of its first festival world premiere - The Skating Rink by David Sawer set to a libretto by Rory Mullarkey based on a novel by Chilean author Roberto Bolaño.

The Path of Life: Ilker Arcayürek sings Schubert at Wigmore Hall

Wigmore Hall’s BBC Radio 3 Lunchtime Concert 2018-19 series opened this week with a journey along The Path of Life as illustrated by the songs of Schubert, and it offered a rare chance to hear the composer’s long, and long-germinating, setting of Johann Baptist Mayrhofer’s philosophical rumination, ‘Einsamkeit’ - an extended eulogy to loneliness which Schubert described, in a letter of 1822, as the best thing he had done, “mein Bestes, was ich gemacht habe”.

Heine through Song: Florian Boesch and Malcolm Martineau open a new Wigmore Hall season

The BBC Proms have now gone into hibernation until July 2019. But, as the hearty patriotic strains rang out over South Kensington on Saturday evening, in Westminster the somewhat gentler, but no less emotive, flame of nineteenth-century lied was re-lit at Wigmore Hall, as baritone Florian Boesch and pianist Malcolm Martineau opened the Hall’s 2018-19 season with a recital comprising song settings of texts by Heinrich Heine.

Elgar Orchestral Songs - SOMM

Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.

Prom 74: Handel's Theodora

“One of the most insufferable prigs in a literature.” Handel scholar Winton Dean’s dismissal of Theodora, the eponymous heroine of Handel’s 1749 oratorio, may well have been shared by many among his contemporary audience.

Remembering and Representing Dido, Queen of Carthage: an interview with Thomas Guthrie

The first two instalments of the Academy of Ancient Music’s ‘Purcell trilogy’ at the Barbican Hall have posed plentiful questions - creative, cultural and political.

Landmark Productions and Irish National Opera present The Second Violinist

Renaissance madrigals and twentieth-century social media don’t at first seem likely bed-fellows. However, Martin - the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh - is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism.

The Rake's Progress: British Youth Opera

The cautionary tale which W.H. Auden and Chester Kallman fashioned for Igor Stravinsky’s 1951 opera, The Rake’s Progress - recounting the downward course of an archetypal libertine from the faux fulfilment of matrimonial and monetary dreams to the grim reality of madness and death - was, of course, an elaboration of William Hogarth’s 1733 series of eight engravings.

Prom 71: John Eliot Gardiner and the Orchestre Revolutionaire et Romantique play Berlioz

Having recently recorded the role of Dido in Berlioz' Les Troyens on Warner Classics, there was genuine excitement at the prospect of hearing Joyce DiDonato performing Dido's death scene live at the BBC Proms. She joined John Eliot Gardiner and the Orchestre Revolutionaire et Romantique for an all-Berlioz Prom at the Royal Albert Hall on Wednesday 5 September 2018. As well as the scene from Les Troyens, DiDonato sang La mort de Cleopatre and the orchestra performed the overture Le Corsaire and The Royal Hunt and Storm from Les Troyens, and were joined by viola player Antoine Tamestit for Harold in Italy.

ENO Studio Live: Paul Bunyan

“A telegram, a telegram,/ A telegram from Hollywood./ Inkslinger is the name; And I think that the news is good.” The Western Union Boy’s missive, delivered to Johnny Inkslinger in the closing moments of 1941 ‘choral operetta’ Paul Bunyan and directly connecting the American Dream with success in Tinseltown, may have echoed an offer that Benjamin Britten himself received, for the composer had written expectantly to Wulff Scherchen on 7th February 1939, ‘(((Shshshsssh … I may have an offer from Holywood [sic] for a film, but don’t say a word))).’ Ten days later he wrote again: ‘Hollywood seems a bit nearer - I’ve got an interview with the Producer on Monday’.

Young audience embraces Die Zauberflöte at Dutch National Opera

The Dutch National Opera season opens officially on the 7th of September with a third run of Simon McBurney’s production of Mozart’s Die Zauberflöte, an unqualified success at its 2012 premiere. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival.

Prom 67: The Boston Symphony Orchestra play Mahler’s Third

Mahler and I, at least in the concert hall, parted company over a decade ago - and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music. This was my tragedy with Mahler.

Bampton Classical Opera Goes to the Ball

I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses - even postage stamps - and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.


OPERA TODAY ARCHIVES »

Reviews

Isouard’s <em>Cinderella</em>: Bampton Classical Opera at St John’s Smith Square
19 Sep 2018

Isouard's Cinderella: Bampton Classical Opera at St John's Smith Square

A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths. »

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23 Apr 2016

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.  »

23 Apr 2016

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir. »

20 Apr 2016

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire. »

18 Apr 2016

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.  »

14 Apr 2016

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.  »

12 Apr 2016

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .  »

10 Apr 2016

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.  »

10 Apr 2016

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera. »

07 Apr 2016

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.  »

06 Apr 2016

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration. »

05 Apr 2016

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838. »

02 Apr 2016

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.  »

02 Apr 2016

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).  »

02 Apr 2016

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi. »

31 Mar 2016

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’ »

26 Mar 2016

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw »

22 Mar 2016

La Juive in Lyon

Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . . »

21 Mar 2016

Benjamin, Dernière Nuit in Lyon

That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism]. »

21 Mar 2016

Handel’s Berenice, London

1737 was Handel’s annus horribilis. His finances were in disarray and his opera company was struggling in the face of the challenge presented by the rival Opera of the Nobility. The strain and over-work led to a stroke, as the Earl of Shaftesbury reported: »

20 Mar 2016

Nocturnal Visions and Reveries at the Barbican

Nocturnal visions and reveries dominated this concert by the BBC Symphony Orchestra at the Barbican Hall, part of a two-day celebration of the music of George Benjamin which also includes a concert performance of the composer’s opera Written on Skin.  »

18 Mar 2016

Ferruccio Furlanetto at San Diego

On March 5, 2016, San Diego Opera presented it’s star bass, Ferruccio Furlanetto, in a concert of arias with the San Diego Symphony Orchestra at the orchestra’s home, Copley Symphony Hall. »

18 Mar 2016

Madama Butterfly, LA Opera

On March 12, 2016, Los Angeles Opera presented the local premiere of Lee Blakeley’s staging of Giacomo Puccini’s Madama Butterfly which had been seen in 2010 at Santa Fe Opera. When Blakeley’s Geisha, played magnificently by Ana Maria Martinez, forsakes her traditional religion and breaks the rules of her culture, she eventually faces a choice between total loss of honor and suicide. Everything that happened on the stage Saturday night pointed toward the tragedy. Puccini’s unforgettable music and exquisite singing by Los Angeles Opera’s top-notch cast kept audience members on the edges of their seats all evening. »

16 Mar 2016

Boris Godunov, Covent Garden

‘And therefore never send to know for whom the bell tolls; it tolls for thee.’ John Donne’s metaphysical meditation might have made a fitting sub-title for Richard Jones’s new production of Musorgky’s Boris Godunov at the Royal Opera House — the first performance in the house of the original 1869 score. »

14 Mar 2016

Ariodante, London Handel Festival

By the time that he composed Ariodante, which was first performed in January 1735, Handel had more than three decades of opera-composing experience behind him. It’s surely one of his greatest music dramas not least because, adapted from Ludovico Ariosto’s epic poem Orlando Furioso, it is a very ‘human’ drama, telling of love and lust, betrayal and healing. »

14 Mar 2016

AZ Opera Presents Young Singers in Memorable Don Giovanni

Don Giovanni is Mozart at his mature zenith. He makes his musical statements directly with optimum economy and, even after more than two centuries, the dramatic scope of his work remains a source of wonder to operagoers. Charles Gounod called Don Giovanni “an unequalled and immortal masterpiece, the pinnacle of lyrical drama.” »

10 Mar 2016

Rimsky-Korsakov’s May Night, London

Descending into the concrete cavern that is Ambika P3, at the University of Westminster, I reflected that the bunker-like milieu was a fitting venue for Royal Academy Opera’s production of Rimsky-Korsakov’s May Night, which updated the original early-19th century locale to the beginning of the Soviet era. »

10 Mar 2016

Entrancing Orlando at the Concertgebouw

The English Concert’s travelling Orlando has been collecting rave reviews. Here’s another one from Amsterdam, the last stop on their tour before Carnegie Hall. »

03 Mar 2016

Orlando at the Barbican

In 1728 Handel was down on his luck, following the demise of his ‘Royal Academy’. Ever the entrepreneur, the following year he made a scouting tour of Italy in search of the best singing talent and, returning with seven new virtuosos — including the castrato Senesino.  »

02 Mar 2016

Heroique flashes at Wigmore Hall

Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals »

02 Mar 2016

Il trittico, Royal Opera

Strong revival for Richard Jones 2011 production with cast mixing returnees and débutantes »

02 Mar 2016

A trip with Captain Haitink into Bruckner’s Cosmos

Last year for his 60th anniversary as conductor, Bernard Haitink celebrated with one of his first orchestra’s the Dutch Radio Philharmonic. That performance of Mahler’s Fourth turned out such a success, he returned for another round at the NTR Saturday Matinee at the Concertgebouw.  »

02 Mar 2016

Félicien David: Herculanum

It is not often that a major work by a forgotten composer gets rediscovered and makes an enormously favorable impression on today’s listeners. That has happened, unexpectedly, with Herculanum, a four-act grand opera by Félicien David, which in 2014 was recorded for the first time.  »

01 Mar 2016

Music and the Exotic from the Renaissance to Mozart

In Musical Exoticism (Cambridge 2011) Ralph P. Locke undertook an extensive appraisal of the portrayal of the ‘Other’ in works dating from 1700 to the present day, an enquiry that embraced a wide range of genres from Baroque opera to Algerian rap, and which was at once musical, cultural, historical, political and ethical.  »

29 Feb 2016

Khovanshchina at Dutch National Opera convinces musically, less so theatrically

Dutch National Opera’s Khovanshchina’s finest asset was Anita Rachvelishvili’s vocally ravishing Marfa. The darkly opalescent Netherlands Philharmonic Orchestra came in a close second. »

29 Feb 2016

Sophie Bevan, Wigmore Hall

The meaning of the term cantata (literally, ‘sung’ from the Italian verb, cantare) may have changed over time, but whether sacred or secular, the form — with its combination of declamatory narration and emotive arias — is undoubtedly a dramatic one, as this performance by Dunedin at the Wigmore Hall of cantatas by J.S. Bach and Handel confirmed. »

29 Feb 2016

Extraordinary Pelléas et Mélisande

With its City of Light presentations, honoring Paris and French inspired music, the Los Angeles Philharmonic offered its public an extraordinary concert performance of a unique opera — Pelléas et Mélisande by Claude Debussy. »

29 Feb 2016

Fascinating Magic Flute in Los Angeles

Barrie Kosky, intendant of the Komische Oper in Berlin, initially thought of combining live performance with animation when he saw British theater company 1927’s production of Between the Devil and the Deep Blue Sea. For that presentation, Suzanne Andrade and Paul Barritt mixed the worlds of silent film and music hall theater, a combination that Kosky wanted for his production of Mozart’s The Magic Flute.  »