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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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12 Feb 2011

Parsifal in Brussels

Romeo Castellucci is the cat’s whisker of current avant-garde theater directors. Thus it has simply been a matter of time before he would be invited to the Monnaie to stage an opera.  »

11 Feb 2011

Egyptian Queen in Parisian Rubble

Although Paris Opéra's Dream Team of soprano Natalie Dessay and director Laurent Pelly promised much for the SRO run of Giulio Cesare in Egitto, for the moment we will have to keep dreaming of what might have been.  »

08 Feb 2011

Don Pasquale, New York

Witty and airy as an after-dinner anecdote over biscuits and cognac, Don Pasquale (1844) is, unlikely as it may seem, almost the last opera Donizetti completed before his descent into the madness of tertiary syphilis. »

07 Feb 2011

Turandot, Florida Grand Opera

In 2010, Florida Grand Opera held a gala to honor Robert Heuer on his 25th anniversary as general director. »

07 Feb 2011

Nixon in China, New York

Preparing for the Met premier of Nixon in China, I resolved to forget—or place on hold—everything I remembered, or thought I remembered, about the real persons who are characters in this opera,  »

07 Feb 2011

Turandot, San Diego

The original story that formed the basis for the libretto of Puccini’s opera Turandot told of a Mongolian princess who insisted that any prospective husband endeavor to win a wrestling match with her.  »

06 Feb 2011

Magdalena Kozená, Wigmore Hall

It’s a rare recital that can be at one and the same time intensely intimate and extravagantly exuberant, but that’s just what Magdalena Kozená and the eight-piece Austrian ensemble Private Musicke achieved in this fascinating and exhilarating concert, which brought a thrill of passion, spontaneity and excitement to the usually more restrained and rarified atmosphere of the Wigmore Hall. »

06 Feb 2011

Les Contes d’Hoffmann, Florida Grand Opera

If you are ever lucky enough to have the opportunity to catch a great exponent of just one of two major roles — the heroines or villains — in Offenbach’s Les Contes d’Hoffmann, you should secure a seat maintenant.  »

06 Feb 2011

Randy Rossini Romp in Z-Town

If proof were needed, the Swiss capital’s heady new Le Comte Ory cements the notion that super-star Cecelia Bartoli certainly seems to have found an ideal home at Zurich Opera. »

06 Feb 2011

Jurowski, Das klagende Lied

Vladimir Jurowski and the London Philharmonic have repeated their success with Mahler’s Das klagende Lied at the Royal Festival Hall.  »

06 Feb 2011

Die Zauberflöte, Covent Garden

Premiered in 2003, and aired again in 2005 and 2008, this current revival of David McVicar’s Die Zauberflöte brings many ‘old hands’ back together to re-visit oft-frequented roles on familiar ground. »

06 Feb 2011

Heggie’s Dead Man Walking triumphs at HGO

The production of Jake Heggie’s Dead Man Walking currently on stage at the Houston Grand Opera is marvelously celebratory in its success. »

06 Feb 2011

Der Freischütz, Toulon

Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.  »

04 Feb 2011

Lucrezia Borgia, ENO

Donizetti’s Lucrezia Borgia at the English National Opera, London, is an interesting hybrid. The opera is performed “straight” so to speak, but encased in a frame of short filmed passages that add background and depth. These films don’t intrude, but enhance. »

03 Feb 2011

Mosheh, a VideOpera

Yoav Gal, an Israeli-born composer-in-residence at the HERE arts complex in Manhattan’s South Village, calls Mosheh a “VideOpera,” rightly giving as much place to what is seen (electronic projections) as to what is heard (from four sopranos playing the women in the prophet’s life and an orchestra of nine musicians). »

02 Feb 2011

Bérénice, Carnegie Hall

Albéric Magnard, inspired to abandon the law for music by a visit to Bayreuth in 1886, was wealthy enough to ignore the public and go off on his own to compose.  »

02 Feb 2011

I Puritani, Glyndebourne 1960

It’s a joy to watch an athlete finding her legs, especially when you know she’ll achieve her feat superbly, matchlessly, with supreme grace. I first heard Sutherland sing I Puritani (three times) during the famous Met run of 1976. »

02 Feb 2011

Jurowski conducts Zemlinsky

This looked an enticing programme before Vladimir Jurowski, in conversation with the Southbank Centre’s Head of Music, Marshall Marcus, divulged its secrets.  »

02 Feb 2011

La Fanciulla in its Anniversary at Lyric Opera of Chicago

In its current production of Giacomo Puccini’s La fanciulla del West Lyric Opera of Chicago celebrates the centenary of the first performances of the opera.  »

01 Feb 2011

Maria Stuarda, Minnesota Opera

The 2010-2011 season for Minnesota Opera is steeped in Bel Canto opera selections, starting with Rossini’s Cenerentola this fall, currently featuring Donizetti’s Maria Stuarda, and for the spring, a production of Verdi’s La Traviata with acclaimed Violetta, Elizabeth Futral.  »

01 Feb 2011

Simon Boccanegra, New York

A few years ago, a certain major newspaper boasted a music critic who could not bring himself either to take opera seriously or to deny himself the opportunity to review it.  »

01 Feb 2011

Gustav Mahler: Symphonies nos. 1 & 9

Issued together, this set includes recordings from two different times, with Mahler’s First Symphony based on performances from 10, 11, and 23 March 2003, and the Ninth from performances between 1 and 3 June 2006.  »

31 Jan 2011

Mark Adamo, Little Women

Mark Adamo’s opera, based on the famous novel by Louisa May Alcott, contains one extraordinary scene, a model of how to adapt fiction into opera. »

28 Jan 2011

Mehta conducts Verdi’s La Forza del Destino on Blu-Ray

A recent news report on entertainment technology noted that sales of “regular” DVDs had plummeted in recent years, while the newer Blu-Ray format has seen substantial increases.  »

24 Jan 2011

Nabucco, Palm Beach Opera

Appearing on Palm Beach Opera’s website video player General Director Daniel Biaggi points out among the reasons to attend the first show of the company’s 2010-2011 season, “fantastic artists whose voices will blow you away.”  »

24 Jan 2011

Il barbiere di Siviglia, Covent Garden

In my July 2009 review of the first revival of Moshe Leiser’s and Patrice Caurier’s 2005 production of Il barbiere di Siviglia I commented that the directors, aided by conductor, Antonio Pappano, had reinvigorated this operatic ‘old friend’, injecting freshness and spontaneity into familiar material.  »

19 Jan 2011

Mahler: Symphony no. 7

Based on performances give between 3 and 5 November 2005 at Philharmonic Hall, Liverpool, the recent release of Mahler’s Seventh Symphony is an excellent addition to the discography of this work.  »

19 Jan 2011

La Bohème at Covent Garden, 2009

The Royal Opera at Covent Garden has hit on a way to revitalize a vintage production — hire a fresh cast of virtually unknown singers.  »

19 Jan 2011

James Gilchrist, Wigmore Hall

Arms swinging loosely at his side, a relaxed smile and bright eyes conveying his confident ease, James Gilchrist’s young wanderer bounded nimbly onto the stage at the Wigmore Hall, radiating and embodying the fresh optimism of spring, at the start of this technically assured and dramatically coherent performance of Schubert’s song cycle, Die schöne Müllerin. »

18 Jan 2011

Mahler: Symphony No. 3.

A recent addition to Valery Gergiev’s Mahler cycle with the London Symphony Orchestra, the SACD recording of the Third Symphony has much to recommend.  »

16 Jan 2011

The Magic Flute and La Traviata, New York

The dust on 65th Street is clearing up and the reviews for the renovated Lincoln Center for the Performing Arts are in — the piazza is being hailed as newly “inviting” by architects and arts critics alike, and rightly so.  »

16 Jan 2011

Tosca, Metropolitan Opera

They have been fiddling with Luc Bondy’s staging of Tosca. Scarpia doesn’t masturbate on the Madonna; he just sort of pinches her erotically.  »

16 Jan 2011

The Art of the Countertenor

Since he first came to notice a few years ago — in Messiah in this very hall, as Creonte at Covent Garden, and as Arsace in Partenope at New York City Opera, to name by a few recently acclaimed performances — many a starry accolade has been heaped upon young Welsh countertenor, Iestyn Davies: “achingly beautiful tone”,“unforgettable focus and poignancy” and “compelling sense of rhetoric” are typical of the bountiful superlatives.  »

11 Jan 2011

Simon Boccanegra, Bologna 2007

This beautifully realized production of Verdi’s somber masterpiece of political intrigue and father/daughter reconciliation could be a complete success except for one missing element — memorable singing.  »

11 Jan 2011

Il barbiere di Siviglia in Montpellier

There is more than one way to skin a cat.  »

09 Jan 2011

King Roger at Bregenz Festival 2009

Long-dormant operas sometimes rise to meet a new dawn only to then slink away like the creatures of the night they were doomed to be — seductive but dangerous to approach.  »

09 Jan 2011

Operatic Advice and Counsel…A Welcome New Reference Book

Vincent Giroud’s valuable new French Opera, a Short History, is in hand and very welcome it is.  »

07 Jan 2011

Rienzi on DVD

Wagner and Verdi were born within 6 months of each other. Rienzi, der letzte der Tribunen comes from 1840, and could in some ways be Wagner’s Simon Boccanegra. »

05 Jan 2011

Un ballo in maschera at its roots

In its production this season of Verdi’s Un ballo in maschera Lyric Opera of Chicago has staged the work in its original locale at the royal court of Sweden.  »

31 Dec 2010

Aida at Bregenz Festival 2009

Some years ago a witty soul coined the term “jumping the shark” to identify the point at which any long-running television program had exploited all its innate story/character development possibilities and had to resort to ridiculous plot contrivances and spectacle to keep the episodes — and paychecks — coming.  »

31 Dec 2010

Adriana Lecouvreur at Teatro Regio Torino 2009

The Royal Opera at Covent Garden just made something of a splash in international opera news with a star-encrusted revival of an opera once quite popular and yet in recent years — Francesco Cilea’s Adriana Lecouvreur.  »

31 Dec 2010

December at Los Angeles Opera: Lohengrin and Rigoletto

At the end of November Los Angeles Opera brought two productions to the stage of the Dorothy Chandler Pavilion.  »

31 Dec 2010

Pelléas et Mélisande, New York

Pelléas et Mélisande, Debussy’s impressionist drama closely based on Maeterlinck’s eerie, symbolist play, is not a terribly vocal opera; it calls more for the subtlety of art song style than the belting of great divas and divos. »

28 Dec 2010

Mozart at Salzburg Festival: Don Giovanni and Così fan tutte

Once a preserve of opulent traditional productions, the summer Salzburg Festival has become a destination for viewing more cutting edge stagings.  »

27 Dec 2010

100 Best Verdi from EMI Classics

New recordings of classical music don’t appear from the “big labels” very often these days, but those companies have enormous libraries from which to extract selections for compilation discs.  »

19 Dec 2010

Susan Bullock, Wigmore Hall

It may have been five years since Susan Bullock last performed at the Wigmore Hall, as her prominence on the world operatic stage has taken her away from the recital hall, but she wasted no time getting into her stride in this charming and musically varied concert.  »

19 Dec 2010

La Fanciulla del West, New York

La Fanciulla del West is Puccini’s love letter to an America that had acclaimed him joyously on his triumphant visit of 1907 to attend the Met premieres of Manon Lescaut and Madama Butterfly.  »