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Elsewhere

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Bampton Classical Opera Young Singers’ Competition 2017

Bampton Classical Opera’s third Young Singers’ Competition takes place this autumn, culminating in a public final at Holywell Music Room, Oxford on November 19. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Peter Kellner announced as winner of 2018 Wigmore Hall/Independent Opera Voice Fellowship

Independent Opera (IO) was very present at the Wigmore Hall last week. On Thursday 5 October, IO announced 26 year old Slovakian bass Peter Kellner as the winner of the 2018 Wigmore Hall/IO Voice Fellowship, a two-year award of £10,000 plus professional mentoring from IO and the Wigmore Hall. A graduate of the Konzervatórium Košice Timonova and the Mozarteum University Salzburg, Peter is currently a member of Oper Graz in Austria where later this season he will sing the title role of Mozart’s Le nozze di Figaro and Colline in Puccini’s La bohème.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

‘Never was such advertisement for a film!’: Thomas Kemp and the OAE present a film of Strauss's Der Rosenkavalier at the Oxford Lieder Festival

Richard Strauss’s Der Rosenkavalier was premiered at the Dresden Semperoper on 26th January 1911. Almost fifteen years to the day, on 10th January 1926, the theatre hosted another Rosenkavalier ‘premiere’, with the screening of a silent film version of the opera, directed by Robert Wiene - best known for his expressionistic masterpiece The Cabinet of Dr Caligari. The two-act scenario had been devised by Hugo von Hoffmansthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).


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Tudor 7198 [CD]
18 Oct 2017

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding. »

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11 Jul 2017

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone! »

11 Jul 2017

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened? »

10 Jul 2017

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.  »

10 Jul 2017

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate? »

09 Jul 2017

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.  »

09 Jul 2017

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.  »

09 Jul 2017

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically. »

08 Jul 2017

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”  »

08 Jul 2017

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians. »

08 Jul 2017

Dulwich Opera’s Carmen

Dulwich Opera Company’s Carmen was a convincingly successful show.  This was mainly due to succinct musical direction and rigorous dramatic direction.  It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye. »

08 Jul 2017

Franz Schreker: Die Gezeichneten

There is a host of fine operas out there languishing more or less unperformed (in some cases, quite unperformed). A few of them might even qualify as ‘great’. (Feel free to remove inverted commas, should that be your thing.) Franz Schreker’s Die Gezeichneten, whatever its proponents might claim, is certainly not one of those: not even close.  »

08 Jul 2017

Erismena at the Aix Festival

An incredible feat! The Aix Festival opened five operas, all new productions, on five consecutive evenings. The fifth was Francesco Cavalli’s 1655 drama per musica, Erismena! The compulsive intellectualism of Monteverdi’s L’incoronazione di Poppea (1643) long since thrown in the canals, Cavalli dissolves Venetian opera into purest, mindless hedonism.  »

07 Jul 2017

Fairytale Spectacle: Turandot at the ROH

Andrei Serban’s 1984 production of Turandot has returned to the Royal Opera House, for its sixteenth revival, and it remains a visual feast. The principals’ raw silk costumes, intricately embroidered and patterned, splash vibrant primary hues against the shadowy tiers which house the red-masked Chorus to the rear. »

05 Jul 2017

Fidelio at Princeton Festival

Fidelio is a great opera, but not an easy one to perform.  Much of the music is stirring, including some among the most profoundly moving passages in all opera. The revolutionary political idealism that underlies the opera is inspiring, particularly to those in German-speaking lands, where it inspires reverence. »

05 Jul 2017

Carmen at the Aix Festival

There were four simultaneous Carmen — those of Prosper Merimee, Georges Bizet, Dimitri Tcherniakov and Pablo Heras-Casado. »

04 Jul 2017

Pinocchio in Aix (World Premiere)

Back to the operatic days when the book took top billing and the composer's name was in the fine print. Collodi’s tale is an epic journey wrapped in sophisticated innocence that leaves you probably more disgusted than anything else — Collodi’s Pinocchio is not a charming child. »

04 Jul 2017

Franz Schreker Die Gezeichneten, Bayerische Staatsoper

Franz Schreker Die Gezeichneten from the Bayerische Staatsoper, Munich, conducted by Ingo Metzmacher, easily the most rewarding full performance ever. Metzmacher gets Schreker - revealing his modernity and originality. There are many kinds of "modern". The idea that 20th-century music can only be atonal/tonal, or dissonant /romantic, is nonsense in itself. Schreker was a highly original composer, very much a man attuned to the creative ferment of his time, fuelled as it was by new ideas and social change.  »

03 Jul 2017

Natalya Romaniw: 'one of the outstanding sopranos of her generation’

There can hardly be a dry eye in the house, at the ‘Theatre in the Woods’ at West Horsley Place - Grange Park Opera’s new home - when, in Act 3 of Janáček's first mature opera, Natalya Romaniw’s Jenůfa realises that the tiny child whose frozen body has been discovered under the ice is her own dead son. »

02 Jul 2017

WNO's Butterfly at the Birmingham Hippodrome

WNO’s summer tour of Joachim Herz’s 1978 production of Madame Butterfly, revived by Sarah Crisp, arrived at the Birmingham Hippodrome this week. A ‘traditional’ assemblage of raised dwellings and sliding Shoji screens, Reinhart Zimmermann’s sepia set evokes the dulling of oriental grace by Western mundanity. For the dull taupe curtains which frame the sides and room of the set drape their traditional sprinkling of willow and bamboo like a bleached Hokusai wave. The effect is suffocating, blocking out any sense of a world outside Cio-Cio-San’s abode. »

02 Jul 2017

The sands of time: WNO's Rosenkavalier in Birmingham

Time, sands, mists: all slip through one’s fingers - intangible and irretrievable. Olivia Fuchs’ production of Strauss’s Der Rosenkavalier for WNO communicates the opera’s message in a clear visual narrative of subtlety and dramatic eloquence.  »

01 Jul 2017

A French double-bill at the Royal College of Music

One might expect a satire on sexual stereotypes penned in 1917 to feel a bit dated in 2017. But, in these days of gender fluidity, with science making biological choice a free-for-all, and with Margaret Atwood’s The Handmaid’s Tale having just hit US and UK television screens, Poulenc’s gender-bending Les mamelles de Tirésias - based on Apollinaire’s surrealist play and first seen at the Opera Comique in 1947 - proved a timely choice for the first half of RCM’s summer double bill. »

27 Jun 2017

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.  »

27 Jun 2017

Saint Louis Butterfly Soars

Opera Theatre of Saint Louis knew to trust the surefire potential of Madame Butterfly, and pretty much stayed out of its way.  »

27 Jun 2017

Saint Louis: Gordon’s Revised Grapes

If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis. »

27 Jun 2017

Titus Lightens Up in Saint Louis

Mozart’s opera seria, La Clemenza di Tito, performed in English at Opera Theatre of Saint Louis did something I did not think possible. »

27 Jun 2017

Il turco in Italia: Garsington Opera

Martin Duncan's production of Rossini's Il turco in Italia debuted in 2011, only the second production to be performed in Garsington Opera's then new home at Wormsley. Revived for the first time on 25 June 2017, David Parry was again conducting with Quirijn de Lang as Selim, Geoffrey Dolton as Don Geronio and Mark Stone as Prosdocimo returning to their roles, plus Sarah Tynan as Fiorilla, Katie Bray as Zaide, Luciano Botelho as Narciso and Jack Swanson as Albazar. Designs were by Francis O'Connor, with lighting by Mark Jonathan and movement by Nick Winston. »

27 Jun 2017

Glyndebourne's wartime Ariadne auf Naxos

It’s country-house opera season, and Glyndebourne have decided it’s time for a return of Katharina Thoma’s country-house-set Ariadne auf Naxos, first seen in 2013. Thoma locates Strauss’s opera-about-opera in a 1940s manor house which has been sequestered as a military hospital, neatly alluding to Glyndebourne’s own history when it transformed itself into a centre for evacuees from east London and the Christie children’s nursery became a sick bay.  »

25 Jun 2017

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial. »

25 Jun 2017

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.  »

25 Jun 2017

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers. »

23 Jun 2017

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.  »

22 Jun 2017

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.  »