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Elsewhere

Vivaldi scores intriguing but uneven Dangerous Liaisons in The Hague

“Why should I spend good money on tables when I have men standing idle?” asks a Regency country squire in the British sitcom Blackadder the Third. The Marquise de Merteuil in OPERA2DAY’s Dangerous Liaisons would agree with him. Her servants support her dinner table, groaning with gateaux, on their backs.

Between Mendelssohn and Wagner: Max Bruch’s Die Loreley

Max Bruch Die Loreley recorded live in the Prinzregenstheater, Munich, in 2014, broadcast by BR Klassik and now released in a 3-CD set by CPO. Stefan Blunier conducts the Münchner Rundfunkorchester with Michaela Kaune, Magdalena Hinterdobler, Thomas Mohr and Jan-Hendrick Rootering heading the cast, with the Prager Philharmonischer Chor..

Porgy and Bess at Dutch National Opera – Exhilarating and Moving

Thanks to the phenomenon of international co-productions, Dutch National Opera’s first-ever Porgy and Bess is an energizing, heart-stirring show with a wow-factor cast. Last year in London, co-producer English National Opera hosted it to glowing reviews. Its third parent, the Metropolitan Opera in New York, will present it at a later date. In the meantime, in Amsterdam the singers are the crowing glory in George Gershwin’s 1935 masterpiece.

Il trovatore at Seattle Opera

After a series of productions somehow skewed, perverse, and/or pallid, the first Seattle Opera production of the new year comes like a powerful gust of invigorating fresh air: a show squarely, single-mindedly focused on presenting the work of art at hand as vividly and idiomatically as possible.

Plácido Domingo awarded Honorary Fellowship of the International Opera Awards

A patron of the International Opera Awards since their inception, legendary tenor Plácido Domingo will receive the first ever Honorary Fellowship of the Opera Awards Foundation at a fundraising evening on Monday 28 January at the Royal Society of Arts, London.

Wexford Festival Opera Announces New Artistic Director

The Board of Wexford Festival Opera has announced Rosetta Cucchi as the new Artistic Director of the Festival. She will take up the six-year position when the current Artistic Director David Agler finishes his tenure after the 2019 Festival.

Opera as Life: Stefan Herheim's The Queen of Spades at Covent Garden

‘I pitied Hermann so much that I suddenly began weeping copiously … [it] turned into a mild fit of hysteria of the most pleasant kind.’

Venus Unwrapped launches at Kings Place, with ‘Barbara Strozzi: Star of Venice’

‘Playing music is for a woman a vain and frivolous thing. And I would wish you to be the most serious and chaste woman alive. Beyond this, if you do not play well your playing will give you little pleasure and not a little embarrassment. … Therefore, set aside thoughts of this frivolity and work to be humble and good and wise and obedient. Don’t let yourself be carried away by these desires, indeed resist them with a strong will.’

Gottfried von Einem’s The Visit of the Old Lady Now on CD

Gottfried von Einem was one of the most prominent Austrian composers in the 1950s–70s, actively producing operas, ballets, orchestral, chamber, choral works, and song cycles.

Britten: Hymn to St Cecilia – RIAS Kammerchor

Benjamin Britten Choral Songs from RIAS Kammerchor, from Harmonia mundi, in their first recording with new Chief Conductor Justin Doyle, featuring the Hymn to St. Cecilia, A Hymn to the Virgin, the Choral Dances from Gloriana, the Five Flower Songs op 47 and Ad majorem Dei gloriam op 17.

Si vous vouliez un jour – William Christie: Airs Sérieux et à boire vol 2

"Si vous vouliez un jour..." Volume 2 of the series Airs Sérieux et à boire, with Sir William Christie and Les Arts Florissants, from Harmonia Mundi, following on from the highly acclaimed "Bien que l'amour" Volume 1. Recorded live at the Philharmonie de Paris in April 2016, this new release is as vivacious and enchanting as the first.

Burying the Dead: Ceruleo offer 'Baroque at the Edge'

“Who are you? And what are you doing in my bedroom?”

'Sound the trumpet': countertenor duets at Wigmore Hall

This programme of seventeenth-century duets, odes and instrumental works was meticulously and finely delivered by countertenors Iestyn Davies and James Hall, with The King’s Consort, but despite the beauty of the singing and the sensitivity of the playing, somehow it didn’t quite prove as affecting as I had anticipated.

Brenda Rae's superb debut at Wigmore Hall

My last visit of the year to Wigmore Hall also proved to be one of the best of 2018. American soprano Brenda Rae has been lauded for her superb performances in the lyric coloratura repertory, in the US and in Europe, and her interpretation of the title role in ENO’s 2016 production of Berg’s Lulu had the UK critics reaching for their superlatives.

POP Bohème: Melodic, Manic, Misbehaving Hipsters

Pacific Opera Project is in its fourth annual, sold out run of Puccini’s La bohème: AKA 'The Hipsters', and it may seem at first blush that nothing succeeds like success.

Edward Gardner conducts Berlioz's L’Enfance du Christ

L’Enfance du Christ is not an Advent work, but since most of this country’s musical institutions shut down over Christmas, Advent is probably the only chance we shall have to hear it - and even then, only on occasion. But then Messiah is a Lenten work, and yet …

Fantasia on Christmas Carols: Sonoro at Kings Place

The initial appeal of this festive programme by the chamber choir, Sonoro, was the array of unfamiliar names nestled alongside titles of familiar favourites from the carol repertoire.

Dickens in Deptford: Thea Musgrave's A Christmas Carol

Both Venus and the hearth-fire were blazing at Trinity Laban Conservatoire of Music and Dance during this staging of Thea Musgrave’s 1979 opera, A Christmas Carol, an adaptation by the composer of Charles Dickens’ novel of greed, love and redemption.

There is no rose: Gesualdo Six at St John's Smith Square

This concert of Christmas music at St John’s Smith Square confirmed that not only are the Gesualdo Six and their director Owain Park fine and thoughtful musicians, but that they can skilfully shape a musical narrative.

Temple Winter Festival: The Tallis Scholars

Hodie Christus natus est. Today, Christ is born! A miracle: and one which has inspired many a composer to produce their own musical ‘miracle’: choral exultation which seems, like Christ himself, to be a gift to mankind, straight from the divine.


OPERA TODAY ARCHIVES »

Reviews

21 Jan 2019

Vivaldi scores intriguing but uneven Dangerous Liaisons in The Hague

“Why should I spend good money on tables when I have men standing idle?” asks a Regency country squire in the British sitcom Blackadder the Third. The Marquise de Merteuil in OPERA2DAY’s Dangerous Liaisons would agree with him. Her servants support her dinner table, groaning with gateaux, on their backs.  »

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29 Apr 2011

Rigoletto, New York

Rigoletto is the perfect opera. Even Verdi, who wrote so many wonderful scores, never created anything more flawless.  »

29 Apr 2011

Séance on a Wet Afternoon

Saturday, April 23 was indeed a rainy afternoon in New York City.  »

24 Apr 2011

Sumeida’s Song

It has long been my belief that the problems of the planet would be resolved (or move on to their next stage) if only the folk of every ethnicity (nation, faith, historic minority, tribe) would devote their energy to creating opera—and perhaps theater or dance—out of its musical and mythical traditions.  »

22 Apr 2011

The Magic Flute, Manitoba

It’s hard to go wrong with The Magic Flute. Mozart’s final opera contains every audience-pleasing feature in spades: beautiful music, a fairy tale story, romance, laughter, villains, heroes/heroines, and for most — a happy ending. »

22 Apr 2011

Minnesota Opera rescues Herrmann work

There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.  »

22 Apr 2011

Otello, Carnegie Hall

By the time he emerged from retirement with Otello, his twenty-seventh opera, at 73, there wasn’t much Giuseppe Verdi didn’t know about how to make an orchestra do his bidding, set the mood of each line of a good story, piling excitement on excitement and letting the tension mutate to something gentler at the right times in order to make the outburst to follow the more demoniac.  »

22 Apr 2011

Cyrano, Florida Grand Opera

To enter into David DiChiera’s space as he talks opera shop is to risk being pulled into his world, rapt by a tractor beam emitting a constant flow of music theater load.  »

22 Apr 2011

A Dinner Engagement

Trust Winnipeg’s resourceful Little Opera Company to come up with a little known, yet charmingly entertaining spring production.  »

19 Apr 2011

Handel’s Hercules when the Music is Paramount

In Lyric Opera of Chicago’s new production of Handel’s Hercules there is an undeniable interpretive strategy which prompts the viewer to consider recurring elements of human emotion, e.g. jealousy, rage, pity, among others.  »

19 Apr 2011

Americans define new territory for songs

They all wrote songs — lots of them: Ives, Bernstein, Rorem. In recital, however, the American product has never found a place on the perch claimed by Schubert and Schumann.  »

19 Apr 2011

Ian Bostridge, Wigmore Hall

The most remarkable aspects of this fresh, illuminating performance of Schubert’s Winterreise by Ian Bostridge and Mitsuko Uchida were the masterly control of dramatic form and the insightful, quite original, shaping of emotional content. »

19 Apr 2011

Akhmatova in Paris

The very name Mantovani strikes musical terror in the hearts of high minded Americans and Brits of a certain age. Now the same surname is evidently terrorizing Parisians. »

18 Apr 2011

The Tsar’s Bride, Royal Opera House

In Russian-speaking countries, Rimsky-Korsakov’s The Tsar’s Bride is much loved. In the west, it’s known mainly for its Overture. The Royal Opera House’s production is the first major production of the full opera in Britain. »

14 Apr 2011

Katarina Karnéus, Wigmore Hall

In Britain, Katarina Karnéus is closely associated with Grieg and Sibelius. Indeed, her career has almost been defined by her recordings of their songs for Hyperion. »

13 Apr 2011

Dallas Boris a monument to Tarkovsky

In those dark days before VCR and DVD, knowledgeable film buffs craved the return of Solaris and Stalker to a local art house screen. »

13 Apr 2011

Christopher Maltman, Wigmore Hall

A Frenchman, three Germans and a Venezuelan-born French national: musical responses to Venice.  »

08 Apr 2011

Tosca, NI Opera

“Show goes on despite fresh bomb scare”. Not exactly the sort of headline a new opera company might have dreamt of for its inaugural production. »

06 Apr 2011

Capriccio, Metropolitan Opera

Richard Strauss, nearly eighty years old and past caring what anybody thought (Pauline aside), ignored the Second World War happening just down the street and collaborated with his longtime conductor Clemens Krauss in an arch libretto about the feud for primacy between poetry and music, concluding with their synthesis in opera.  »

04 Apr 2011

Monodramas, NYCO

New York City Opera’s evening of “Monodramas” (under that general title) may not appeal to the opera-goer who prefers such typical fare as the company’s other offering this week, Donizetti’s L’Elisir d’amore, but I found it a devilish and delightful exploration of the depths of inner consciousness. »

04 Apr 2011

L’Elisir d’Amore

Donizetti described to his father the premiere cast of L’Elisir in terms of lukewarm praise—the tenor only “passable” the soprano’s voice “pretty” and the bass “a little hammy.”  »

04 Apr 2011

Lawrence Zazzo, Wigmore Hall

In this intriguing and unpredictable recital, American countertenor, Lawrence Zazzo, and his accompanist, Simon Lepper, presented a dynamic sequence of American song from the twentieth and twenty-first centuries.  »

04 Apr 2011

Literalism and Truth: Fidelio, Royal Opera

Proof that literalism isn’t truth: Jürgen Flimm’s production of Beethoven’s Fidelio, first heard at the Met and at the Royal Opera House, London in 2007. »

03 Apr 2011

Florian Boesch, Wigmore Hall

Florian Boesch and Malcolm Martineau gave the finest recital so far in the Wigmore Hall’s decade by decade series of German Song.  »

03 Apr 2011

Tosca, Palm Beach

Victorien Sardou wrote the melodrama La Tosca, a play subject to all sorts of incidental drama and off-stage intrigue, for Sarah Bernhardt.  »

29 Mar 2011

Il ritorno d’Ulisse in patria, ENO

Benedict Andrews’ thought-provoking new production of Claudio Monteverdi’s Il ritorno d’Ulisse in patria, the latest of English National Opera’s innovative stagings at the Young Vic, juxtaposes images of unremitting modernity with a tapestry of archaic aural colours, all placed within an antique frame which resonates with universal emotions. »

28 Mar 2011

Le Comte Ory, Metropolitan Opera

Rossini’s penultimate stage work, Le Comte Ory, belongs to the tradition of sexy scoundrel operas, along with such works as Don Giovanni, Zampa, Fra Diavolo, Barbe-Bleu, Les Brigands and Threepenny Opera.  »

27 Mar 2011

Orlando Furioso, London

Adapting an extended literary work for the stage remains a challenge today and was no less so in the baroque era. Ariosto’s enormously long poem Orlando Furioso was extremely popular and inevitably his highly coloured characters found their way onto the operatic stage. »

24 Mar 2011

Sarasota Opera Winter Festival 2011

Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell. »

23 Mar 2011

The Turn of the Screw at LA Opera

An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?  »

23 Mar 2011

Machover, Death and the Powers

This is an opera written with a cannon and a feather. There is sensory overload—an overload of sensory overload: lights that shine into your face in the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds that invade you from every direction; dancing patterns of light that may resolve into huge words or huge faces; a great chandelier-harp that sometimes descends to be played, a strumming like the sounds of the sirens in Plato’s parable of the concentric crystalline spheres. »

23 Mar 2011

Philip Glass’s Orphée

With voices of doom predicting the end of the CD format — supposedly to be replaced by downloading — the ancillary art of CD packaging also faces a grim future.  »

18 Mar 2011

Bellini’s I Puritani in Bologna

Vincenzo Bellini’s operas are pure bel canto, with beautiful singing placed above all other considerations.  »

18 Mar 2011

Roméo et Juliette, New York

Is Guy Joosten’s staging of Roméo et Juliette the best-looking production in the Met’s current repertory or what?  »

16 Mar 2011

Magnificent Mahler by Shanghai Symphony

It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.  »

15 Mar 2011

The Queen of Spades, New York

Tchaikovsky’s Pikovaia Dama (The Queen of Spades) is the longest Mad Scene in opera. Ghermann is already half nuts when we meet him in the park in St. Petersburg on a windy day, and he gets crazier from scene to scene.  »

15 Mar 2011

Aida, London

Strict courtly hierarchies and the repressed formality of ritual juxtaposed with violent sexual jealousy and lurid erotic excess … a stage-world more suited to the Straussian insalubrity of Salomé than to the epic grandeur of Verdi’s Aida, perhaps?  »

15 Mar 2011

Lucia, New York

It costs a lot to look cheap. And it takes a village to raise a child. In the case of the Metropolitan Opera’s current revival of Donizetti’s Lucia di Lammermoor, it takes a lot of talent to produce underwhelming opera.  »

12 Mar 2011

Gheorghiu and Domingo in Giordano’s Fedora

A major label release of a new studio recording of a full opera — with the traditional booklet/libretto — wanders onto the scene almost like a lost and lonely unicorn.  »

10 Mar 2011

Cecilia Bartoli in Halévy’s Clari

A key measure of operatic star power is the ability to get an obscure work staged — think Joan Sutherland and her run in Massenet’s Esclarmonde, an outlandish wallow in orchestral excess ladled over a libretto of unfathomable goofiness.  »

10 Mar 2011

La Traviata, Phoenix

Francesco Maria Piave’s Italian libretto for Giuseppe Verdi’s opera La Traviata is based on the French play La Dame aux Camélias.  »

10 Mar 2011

Two Troubled Girls in Paris

Commanding soprano performances of put-upon heroines securely anchored two recent evenings at the Bastille Opera House.  »

09 Mar 2011

Déodat De Séverac: Le Coeur du Moulin

Interesting recordings continue to be produced in the classical music business by smaller labels with particular niche markets. For the label Timpani, their specialty tends to be rarer French repertoire.  »

09 Mar 2011

Luca Pisaroni at the Wigmore Hall, London

After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital. »

06 Mar 2011

Dialogues des Carmélites, Guildhall, London

Francis Poulenc’s Dialogues des Carmélites is an unusual opera, but much sensitive musical thinking has gone into this production at the Guildhall School of Music and Drama, London. »

06 Mar 2011

L’Africaine, OONY

Eugène Scribe and Giacomo Meyerbeer were in the business of creating proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe. »

06 Mar 2011

Gilbert & Sullivan: The Mikado

The front leg of the grand piano may rest at a rather precarious angle, and the out-sized martini glass lean a trifle askew, but Jonathan Miller’s 1986 production of Gilbert & Sullivan’s The Mikado wears its twenty-five years lightly — as do Stefanos Lazaridis’ eye-wateringly white, gleaming sets.  »

06 Mar 2011

Roderick Williams, Wigmore Hall

Relaxed, confident and composed, baritone Roderick Williams, accompanied by pianist Helmut Deutsch, gave a polished and performance before a warmly appreciative Wigmore Hall audience, performing an interesting selection of songs by Wolf, Korngold, Mahler and Schumann. »