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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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19 Jun 2007

La Clemenza di Tito – English National Opera

An increasing lack of substance and imagination behind ENO’s season scheduling means that a revival of a theatrically impressive recent production of a repertoire piece is to be welcomed, especially when that production comes with a cast of superior calibre. »

18 Jun 2007

Leipzig Bachfest explores early opera

When opera is the subject, there’s an uneasy embarrassment at Leipzig’s annual 10-day Bach Festival, for opera is a genre that the city’s most famous musical son never embraced. »

17 Jun 2007

BRITTEN: Death in Venice

Two productions of Death in Venice within a month : one high budget and glamorous at the ENO and the other at Aldeburgh with a much more humble pedigree. »

17 Jun 2007

LASSUS: Psalmi Davidis pœnitentiales

Among Lasso’s vast output there are few works more imposing than his collected settings of the seven penitential psalms. »

17 Jun 2007

WAXMAN: Joshua

Franz Waxman was working with librettist James Forsyth on an opera, Dr. Jekyll, when the composer’s wife died. »

17 Jun 2007

MAHLER: Urlicht

Mahler: Urlicht is a recording of selected songs for voice and piano from various collections of the composer’s Lieder, including his early settings from Des Knaben Wunderhorn, the later Wunderhorn Lieder that Mahler set in the 1890s in versions with both orchestral and keyboard accompaniment, and also his Rűckert-Lieder, performed by the young mezzo soprano Christianne Stotijn accompanied by Julius Drake. »

11 Jun 2007

VIVALDI: Arie per basso

In 2001 the recording company Naïve and the Istituto per beni musicali in Piemonte began a large-scale undertaking of recording the vast holdings of Vivaldi’s musical library. »

11 Jun 2007

Italiana restored: Rossini’s afterthougts staged in Vicenza

Vicenza’s Teatro Olimpico, a jewel of Renaissance architecture inaugurated in 1585 and seating around 500, hosted in early June a run of three performances of Rossini’s Italiana in Algeri. »

05 Jun 2007

Pasatieri’s return to opera impressive

The June 2 world premiere of “Frau Margot” at the Fort Worth Opera might be regarded as “an historic return,” for this is Thomas Pasitieri’s first opera in 18 years. »

05 Jun 2007

BUSONI : Songs

Doktor Faust eclipses most of Ferrucio’s Busoni’s other work in terms of popularity. Surprisingly, though, he wrote little song. Only 40 pieces remain, many written in his youth. »

04 Jun 2007

The Jussi Björling Series: rare opera recordings from Stockholm

“We’ll discuss the greatest tenor in history, Jussi Björling, and his astounding voice.” »

04 Jun 2007

RUBINSTEIN: Il Demone

I was never much impressed by the Russian performances of this most famous of Rubinstein’s many operas. »

04 Jun 2007

“La Traviata” from the Volksoper Wien

In Verdi’s beloved opera, love does not conquer all but the sweet-taste of what “might have been” lingers on our lips forever when we think of the beautiful Violetta. »

03 Jun 2007

Arizona Opera's Susannah — A Naive Story Dilutes an Impressive Production

Arizona Opera ended its 2006/07 season with a tightly-knit, well-tuned presentation of Carlisle Floyd's Susannah, his best known opera that has enjoyed numerous productions since its New York City Opera debut in 1956. »

31 May 2007

THOMSON: The Plow that Broke the Plains; The River

Naxos’s DVD venture has produced a fascinating document, the original documentary shorts The Plow that Broke the Plains and The River, filmed by Pare Lorentz, with the Virgil Thomson scores re-recorded by the post-Classical Ensemble, led by Angel Gil-Ordóñez. »

31 May 2007

MAHLER: Symphony no. 2

Given the fine recent recordings of Mahler’s Second Symphony on both CD and DVD, the release of Pierre Boulez’s performances from 26 and 27 March 2005 at the Philharmonie, Berlin, is a further contribution to the interpretations of this important work. »

31 May 2007

Death in Venice at ENO

Deborah Warner’s new production of Death in Venice is ravishingly beautiful, with stunning lighting designs by Jean Kalman who manages to capture the spirit of every facet of Venice and of the drama’s more general themes, from the misty eeriness of Aschenbach’s first gondola ride through to ominous darkening skies and blazing sunsets. »

30 May 2007

Die Zauberflöte at the Volksoper

Serpents, abduction, magic flutes, a sacred priesthood and, of course….love, are a few of the elements Mozart used to comprise his mason-influenced collaboration with Emanuel von Schikaneder. »

30 May 2007

MASSENET: Esclarmonde

Just as sausage can be best enjoyed without any extensive knowledge of its preparation and contents, one should slide slowly into the luxuriant bath that is Massenet’s Esclarmonde and leave the libretto far to the side. »

30 May 2007

ORFF: Carmina Burana

Released in early 2007, Marin Alsop’s performance of Carl Orff’s Carmina Burana is an exciting, new recording of this familiar and durable scenic cantata, based on medieval lyrics in Latin and German. »

30 May 2007

Verboten und verbannt: Mendelssohn, Meyerbeer, Zemlinsky, Zeisl, Schönberg, Berg, Mahler.

Verboten und verbannt — forbidden and banned — a phrase used with Jewish composers whose music was proscribed by the Nazis brings to mind more than musical censorship, but also the atrocities that culminated in the Holocaust. »

30 May 2007

Angel Dances

Curmudgeons and aesthetes may have to fight their gag reflex to enjoy some luscious music-making on the latest disc, Angel Dances, from that hot studio band, The Twelve Berlin Philharmonic Cellists. »

29 May 2007

Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music

The interpretive reception of medieval music begins, as John Haines lays forth in the present investigation, already during the latter period of the Middle Ages. »

29 May 2007

BRITTEN : Gloriana

Towards the end of his life Britten became interested in the idea of developing the opera experience beyond the technical confines of the stage. He would have, I think, loved this film because it’s so intelligently sensitive to his fundamental ideas. It is, no less, a work of art built around a work of art. »

25 May 2007

Virginia Arts Festival celebrates “Pocahontas”

Norfork - It’s America’s biggest birthday since the 1976 bicentennial celebration of the Declaration of Independence: »

20 May 2007

VERDI: Aida

This recording is a souvenir in more than one sense. »

20 May 2007

Simon Boccanegra — Opéra national de Paris

Chief attraction of the Paris Opera’s new production of Simon Boccanegra was Dmitri Hvorostovsky in the title role. »

20 May 2007

Anonymous 4: Gloryland

The quality packaging of Anonymous 4’s latest recording indicates the group’s importance to their label, Harmonia Mundi. »

09 May 2007

LEONCAVALLO: Pagliacci

In the countless performances of Leoncavallo’s masterpiece Pagliacci since its 1892 premiere, there must have been times when the light tenor singing Beppe watched the other tenor, of heavier voice, in the lead role of Canio and wondered if someday he (the Beppe) would take on the dramatic role of the homicidal clown. »

09 May 2007

Audrey Stottler Sings Wagner

Audrey Stottler’s Wagner recital provides ample evidence of a voice with the range and heft for the challenging roles of Brünnhilde and Isolde, as well as Sieglinde, a role often sung by a vocalist with less firepower. »

09 May 2007

Alison Balsom: Caprice

Dare one assume that with this disc, Alison Balsom becomes the first artist to bring her lung power to both Norma’s “Casta Diva” and Die Zauberflöte’s “Der hölle rache” in the same recital? »

09 May 2007

Porgy and Bess at Los Angeles Opera

Premiered at Washington National Opera, director Francesca Zambello’s Porgy and Bess arrived in Los Angeles May 4th, for a run of 12 performances in just 17 days. »

09 May 2007

On The Town – English National Opera

In a season that will conclude with a new production of Kismet, ENO has once again come under criticism for the number of non-operatic works on the bill. »

03 May 2007

Franco Corelli: His Early Cetra Records

I often wonder who decides what records will be used to produce historical vocal issues. »

03 May 2007

Cesare Siepi: The Salzburg Recital of 1956; Arias from Norma, Faust, Don Carlo

For those who didn’t long ago purchased or exchanged this Salzburg recital via the pirate connections, this is a fine opportunity to get maybe the best testimonial of this artist. »

03 May 2007

American Choral Music

The commitment of Naxos to American music is substantial and admirable. »

02 May 2007

OFFENBACH: Orpheus in der Unterwelt (Orphée aux enfers)

Filmed for television in 1971, this performance of the German translation of Orphée aux enfers (1858) as Orpheus in der Unterwelt breaks the conventional wisdom that some espouse about the weaknesses of opera or opera when conceived for the small screen. »

02 May 2007

BACH: Cantatas, Vol. 26 (Whit Sunday and Whit Monday)

Among the virtues of hearing Bach cantatas performed in liturgical order—one of the hallmarks of John Eliot Gardiner’s stunning Cantata Pilgrimage of 2000—is the chance to savor Bach’s range of approach to unified text themes. »

02 May 2007

Delightful Organ at St Margaret’s Palm Desert

Who says an organ recital cannot be jolly good fun? »

01 May 2007

ROSSINI: Bianca e Falliero

Dynamic brought its cameras to the Rossini Opera Festival in Pesaro, Italy, in August 2005 to record Bianca e Falliero, one of Rossini's so-called “serious” operas, and one that had only been rescued from many decades of neglect by the festival itself, in 1986. »

01 May 2007

Miami “Karenina” a dream come true

Colin Graham’s dream of an opera based on Tolstoi’s “Anna Karenina” extends far into the past. »

01 May 2007

In Barcelona, a Wagner debut without scandals for Àlex Rigola, the rising star in the Catalan school of direction

At Barcelona’s Gran Teatre del Liceu, a sold-out house marked, for two nights in a row, the weekend introducing la diada de Sant Jordi, the big fiesta celebrated on April 23 in honor of the city’s patron St George. »

01 May 2007

Tristan und Isolde: Total Immersion

The Los Angeles Philharmonic in April and May brought back its Tristan Project for the benefit of audiences in California and New York City. »

25 Apr 2007

MAHLER: Symphony no. 2

Over a century after its premiere, Mahler's Second Symphony continues to be a compelling work and is as relevant now as it was when the work was conceived. »

25 Apr 2007

Beverly Sills & Placido Domingo

More than ever, compilations of previously released material fill the shelves of those stores still selling classical music. »

25 Apr 2007

Handel Singing Competition Final – London April 23rd

Once again, George Frederick Handel’s old stamping ground of St. George’s Hanover Square, London, resounded last night to the sound of his music as aspiring young singers from all over the world fought out the Final of the London Handel Singing Competition. »

23 Apr 2007

Wozzeck at San Diego Opera

“What drives a man to insanity and murder?” asks the poster for San Diego Opera’s new production of Wozzeck, which closed this Sunday after a run of four performances. »

22 Apr 2007

Satyagraha at ENO

Philip Glass’s 1980 work, new to the London stage, gives an illustrated account of Mahatma Gandhi’s early years in South Africa, viewed through the eyes of his satyagraha philosophy of peaceful resistance. »

19 Apr 2007

PENDERECKI: Symphony no. 7

Krzyzstof Penderecki (b. 1933) has contributed a body of works to the modern repertoire, and his Symphony no. 7, which he composed 1996 (premiere 1997 in Jerusalem), is an impressive composition. »

16 Apr 2007

MAHLER: Des Knaben Wunderhorn

The orchestral songs of Gustav Mahler remain an important contribution to the genre, and stand well alongside similar works by Berlioz, Wolf, and Strauss. »