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Probing Bernstein and MacMillan double bill in Amsterdam

The Opera Forward Festival (OFF) in Amsterdam is about new things: new compositions, rediscovered works and new faces. This year’s program included a double bill produced by Dutch National Opera’s talent development wing. Leonard Bernstein’s portrait of a miserable marriage in affluent suburbia, Trouble in Tahiti, was the contrasting companion piece to James McMillan’s Clemency, a study of the sinister side of religious belief.

Macbeth in Lyon

A revival of the Opéra de Lyon’s 2012 Occupy Wall St. production of Verdi’s 1865 Macbeth, transforming naive commentary into strange irony, some high art included.

An Interview with Soprano Lisette Oropesa

Lisette Oropesa sings Eurydice in Los Angeles Opera’s French version of Gluck’s Orpheus and Eurydice that can currently be seen at the Dorothy Chandler Pavilion.

Barber of Seville Is Fun in Tucson

On March 4, 2018, Arizona Opera presented Gioachino Rossini’s The Barber of Seville in Tucson. Allen Moyer designed the bright and happy scenery for performances at Minnesota Opera,

Moody, Mysterious Morel

Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel.

Acis and Galatea: 2018 London Handel Festival

Katie Hawks makes quite a claim for Handel’s Acis and Galatea when, in her programme article, she describes it as the composer’s ‘most perfect work’. Surely, one might feel, this is a somewhat hyperbolic evaluation of a 90-minute pastoral masque, or serenade, based on an episode from Ovid’s Metamorphoses, which has its origins in a private entertainment?

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

Opera in Amsterdam in 2018-2019

The operatic tradition is not as old in the Netherlands as in other European countries, yet opera is a vital part of the Dutch classical landscape. Both Dutch National Opera & Ballet and the Concertgebouw are in Amsterdam, so the capital gets the lion’s share of the opera on offer.

Lyric Opera of Chicago to Premiere Fellow Travelers—A Preview

On 17 March 2018 Lyric Opera of Chicago will premiere the 2016 opera Fellow Travelers by Gregory Spears (with a libretto by Greg Pierce, based on the novel by Thomas Mallon. Mallon’s 2007 novel offered fresh perspectives on the paranoiac investigations of McCarthy-era Washington, DC, through the lens of a gay relationship.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.



Photo courtesy Dutch National Opera & Ballet
23 Mar 2018

Probing Bernstein and MacMillan double bill in Amsterdam

The Opera Forward Festival (OFF) in Amsterdam is about new things: new compositions, rediscovered works and new faces. This year’s program included a double bill produced by Dutch National Opera’s talent development wing. Leonard Bernstein’s portrait of a miserable marriage in affluent suburbia, Trouble in Tahiti, was the contrasting companion piece to James McMillan’s Clemency, a study of the sinister side of religious belief. »

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05 Nov 2011

Lieberson’s Neruda Songs and Theofandis’s Symphony No. 1

In 2006 classical music lost one of its great singers — American mezzo-soprano Lorraine Hunt Lieberson, taken at the height of her career.  »

05 Nov 2011

La sonnambula, Royal Opera

Bellini’s La sonnambula does not have the most gripping or convincing of opera plots: a young girl sleepwalks into a stranger’s room, where she is discovered by her fiancé; disbelieving her pleas of innocence, he jilts her and plans to wed another; but, she is vindicated when she is spied on a nocturnal wander, and the lovers are reconciled.  »

05 Nov 2011

Bluebeard’s Castle, Royal Festival Hall

Bartók’s only opera, a masterpiece to rank with other sole works in the genre such as Fidelio and Pelléas et Mélisande, was chosen for the climax of the Philharmonia’s year-long series, ‘Infernal Dance: Inside the World of Béla Bartók’.  »

05 Nov 2011

Wily Wexford Stays the Course

Wexford Festival Opera made a boldly calculated choice sixty years ago when it eschewed bread-and-butter titles, and instead raided the dusty closet where forgotten pieces by some famous (and mostly non-) composers were (at best) consigned to history. »

04 Nov 2011

Heart of Darkness, Royal Opera

There are some literary texts which, by dint of their intense compression of incident, their creators’ firm control of structure, and the precision of linguistic nuance, do not naturally seem to lend themselves to operatic treatment.  »

01 Nov 2011

Anna Bolena, Metropolitan Opera

It’s very unusual for the Met these days—or any major opera house, in any era—to present a glossy new production with two different stars in the leading role.  »

01 Nov 2011

Castor & Pollux, ENO

Daring dramas which probe dark psychological depths; music that embodies visceral emotional conflicts, and stirs heated, often contradictory, passions; the text and score shaped into radical musico-dramatic structures, employing shockingly inventive harmonic language and orchestral timbres.  »

27 Oct 2011

Renée Fleming and Dmitri Hvorostovsky: A Musical Odyssey in St. Petersburg

Exactly what makes this entertaining, handsome video of Dmitri Hvorostovsky and Renée Fleming in concert an “odyssey”?  »

27 Oct 2011

Pavarotti at the Metropolitan Opera

Luciano Pavarotti died in September 2007, just short of his 72nd birthday and only a few years after his last performance at the Metropolitan Opera, in Tosca.  »

27 Oct 2011

Carmen returns to the Opéra Comique

“Historically Informed Performance” sure has a nice ring — not only does the acronym capture the trendiness of the movement (“HIP”), but one has to admire the subtle put-down the term encapsulates. »

27 Oct 2011

Béatrice et Bénédict, Opera Boston

How is one to write a Romantic opera?  »

26 Oct 2011

Don Giovanni, Metropolitan Opera

According to legend, when composing Don Giovanni, Mozart completed the overture last. It was written the night before the opera’s premiere, while his wife Constanze, a fervent taskmaster, plied him with food and drink to make sure he stayed awake.  »

26 Oct 2011

A Portrait of Manon — Young Artrists at the Royal Opera House

Without young artists, no art form will thrive or grow. The Royal Opera House’s Jette Parker Young Artists scheme nurtures the best from its young artists that their performances attract thoughtful audiences.  »

26 Oct 2011

Don Giovanni in San Francisco

Ossia Maestro Watching in Fog City. Ten years ago it was German provincialism, now it is the Italian sort wanting to take root in the War Memorial Opera House.  »

24 Oct 2011

Der fliegende Holländer, Royal Opera

Wagner’s Flying Dutchman returns to the Royal Opera House, London. »

23 Oct 2011

Renata Pokupić, Wigmore Hall

In this appealing lunchtime recital programme, Croatian soprano Renata Pokupić demonstrated a rich, varied tonal palette and strong communicative skills as she spanned one hundred years of European song.  »

23 Oct 2011

Intertwining facets of Italian High Baroque

‘Erotic oratorio’ is the odd-sounding definition devised by modern scholars, such as Howard E. Smither, for those pious music dramas employing sex-laden plots from the Bible, the Apocrypha or the lives of Saints in order to give the audience moral instruction in a quasi-operatic, if generally unstaged, form.  »

12 Oct 2011

Britten’s War Requiem, London

‘Requiescant in pace. Amen.’  »

12 Oct 2011

Threepenny Opera, Brooklyn

Should I wait until the end of this review to tell you how much fun, how much of a theatrical whoopee cushion Robert Wilson’s production of Die Dreigroschenoper has been at BAM last week?  »

12 Oct 2011

Simon Rattle’s Mahler 9

Recorded between 24 and 27 October 2008 at the Philhamonie in Berlin, this release offers the dynamism of a concert performance with the sound quality associated with EMI’s fine recordings.  »

12 Oct 2011

Sallinen’s The Red Line at Finnish National Opera, 2008

Some opera masterworks are admirable more than lovable — a distinction usually best revealed by the number of performances the work gets.  »

12 Oct 2011

La Traviata and the Credit Crunch

One way of thinking about La Traviata is to consider it as a portrayal of bubble wealth that makes artistic capital from the shimmering, rainbow hues of the surface rather than showing any interest in what sustains the bubble.  »

12 Oct 2011

Mahler 8, Royal Festival Hall

Following Lorin Maazel’s lifeless first movement from Mahler’s Tenth Symphony  »

10 Oct 2011

Così fan tutte, Los Angeles

The Los Angeles Opera Company’s charmingly understated new production of Così fan tutte will please your eyes and delight your ears, but its story might grieve your romantic soul. »

07 Oct 2011

Carmen, Philadelphia

There are two ways to sing the role of Carmen: as a “grand opera” heroine and as a character from opéra-comique.  »

05 Oct 2011

Menotti in German

As long as one keeps in mind that historical value is not the same as aesthetic quality, this DVD of early 1960’s live German TV performances of two short Gian Carlo Menotti operas makes for fascinating viewing. »

03 Oct 2011

The Inaugural Cambridge Handel Festival: a rosy dawn?

The haughty beauties that are the ancient colleges of Cambridge were definitely feeling the heat this past weekend, and not even the cooling streams of the Cam and its tributaries could assuage the heat of an Indian summer in the Fens of Eastern England.  »

02 Oct 2011

Eugene Onegin, Los Angeles

Kudos to the Los Angeles Opera Company for expanding its heretofore limited Russian repertoire and opening its 26th season with Tchaikovsky’s Eugene Onegin. The romantic work based on the novel in verse of the same name by Alexander Pushkin, is likely everyone’s favorite Tchaikovsky opera. »

30 Sep 2011

The music of Donnacha Dennehy

Love and Death is the name of one of Woody Allen’s earlier films, one built around parodies of Tolstoy and other Russian 19th century literary giants.  »

30 Sep 2011

Mahler, Royal Festival Hall

My response to much of this and last year’s Mahler anniversary bonanza has been to stay away: certainly not out of antipathy, nor out of boredom, nor on account of any other negative reaction to the music of a composer whom I admire as greatly as ever, but simply because there are too many unnecessary performances of that music on offer.  »

28 Sep 2011

Faust, Royal Opera House

When the Royal Opera House London does things well, it does them very well indeed. This Gounod’s Faust was a sizzler!  »

28 Sep 2011

Lucrezia Borgia in San Francisco

Bad news travels fast. Though you are about to read another version of how American diva Renée Fleming failed to bring Lucrezia Borgia alive, let us begin by discussing a few other things you already know. »

28 Sep 2011

Ioan Holender Farewell Concert

What better way for the long-reigning director of the Vienna State Opera, Ioan Holender, to celebrate the end of his time in the post than with a lengthy gala featuring such stars as Gergely Németi, Roxana Constantinescu, Krassimira Stoyanova, and Keith Ikaia-Purdy?  »

28 Sep 2011

Billy Budd at the Barbican

Among recent recordings of Britten’s opera Billy Budd, the recent release conducted by Daniel Harding has much to offer in terms of performance quality, interpretation, and also the quality of recording.  »

28 Sep 2011

Atys, Brooklyn Academy of Music

In 1989, William Christie’s ten-year-old Paris-based baroque troupe, Les Arts Florissants, brought a staged production to the Brooklyn Academy of Music for the first time, Lully’s Atys.  »

26 Sep 2011

Christian Gerhaher, Wigmore Hall

Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.  »

23 Sep 2011

Beecham conducts Delius

Frederick Delius counts among those many composers whose reputations rely on their orchestral efforts, but who dearly wanted to make a lasting contribution to the opera repertory.  »

23 Sep 2011

Lawrence Zazzo, Wigmore Hall

Lawrence Zazzo’s last visit to the Wigmore Hall, in April earlier this year, saw him present an intriguing sequence of American song from the twentieth and twenty-first centuries.  »

22 Sep 2011

The Passenger, ENO, London

The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.  »

21 Sep 2011

Stars of Lyric Opera at Millennium Park, Chicago

In a program of Italian and French arias and duets Lyric Opera gave to Chicago audiences a preview of the first operas in its forthcoming season and an opportunity to hear familiar voices as well as those soon destined to grace the operatic stages of the world.  »

21 Sep 2011

Turandot in San Francisco

Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production. »

21 Sep 2011

La tragedia di Tosca at the Washington National Opera

Whether or not one agrees with Joseph Kerman’s immortal definition of Tosca as a “shabby little shocker,” Puccini’s melodramma, the inaugural production of the Washington National Opera’s 2011-12 season, is intense, “blood-and-guts” kind of entertainment.  »

21 Sep 2011

Il Trittico, Covent Garden

What do a ferociously violent melodrama, an ecstatic spiritual revelation and an ironic black farce have in common?  »

21 Sep 2011

The Elixir of Love, ENO

It’s easy to dismiss the undoubted charms of Donizetti’s The Elixir of Love with a wry smile and a dash of condescension.  »

21 Sep 2011

The Italian Girl in London, Bampton Classical Opera

As one of the most successful Italian opera composers of the late-eighteenth century, Domenico Cimarosa’s reputation lasted well into the following century during which his operas were staple repertoire in all the major European opera houses.  »

21 Sep 2011

Paris: A Thrilling Leap and Then a Stumble

Stylish, spirited vocalism that rang convincingly through the Palais Garnier was the hallmark of Paris Opera’s thrilling revival of one of Mozart's least appreciated mature operas.  »

21 Sep 2011

Willy Decker’s staging of Schoenberg’s Moses und Aron

As a rule the celebrated incomplete operas of the repertory eluded completion due to the untimely death of the composer.  »

21 Sep 2011

Schiller: Ein Leben in Liedern, Wigmore Hall

While the music industry seems to be spiralling dementedly downmarket, the Wigmore Hall keeps standards extremely high.  »

21 Sep 2011

Heart of a Soldier, San Francisco

The house lights dimmed, SFO General Director David Gockley instructed us to stand and sing the Star Spangled Banner. This crucial moment revealed the intentions and complexities of this fine production at San Francisco Opera. »