Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance.

A stellar Ariadne auf Naxos at Investec Opera Holland Park

Strauss’s Ariadne auf Naxos is a strange operatic beast. Originally a Molière-Hofmannsthal-Strauss hybrid, the 1916 version presented in Vienna ditched Le bourgeois gentilhomme, which had preceded an operatic telling of the Greek myth of Ariadne and Theseus, and replaced it with a Prologue in which buffa met seria as competing factions prepared to present an entertainment for ‘the richest man in Vienna’. He’s a man who has ordered two entertainments, to follow an epicurean feast, and he wants these dramatic digestifs served simultaneously.

PROM 5: Debussy’s Pelléas et Mélisande

Stefan Herheim’s production of Debussy’s magnificent 1902 opera for Glyndebourne has not been universally acclaimed. The Royal Albert Hall brought with it, in this semi-staged production, a different set of problems - and even imitated some of the production’s original ones, notably the vast shadow of the organ which somewhat replicates Glyndebourne’s 1920’s Organ Room, and by a huge stretch of the imagination the forest in which so much of the opera’s action is set.

Thought-Provoking Concert in Honor of Bastille Day

Sopranos Elise Brancheau and Shannon Jones, along with pianists Martin Néron and Keith Chambers, presented a thrilling evening of French-themed music in an evening entitled: “Salut à la France,” at the South Oxford Space in Brooklyn this past Saturday, July 14th.

Dido in Deptford: Blackheath Halls Community Opera

Polly Graham’s vision of Dido and Aeneas is earthy, vigorous and gritty. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.

Summer madness and madcap high jinxs from the Jette Parker Young Artists

The operatic extracts which comprised this year’s Jette Parker Young Artists Summer Performance seemed to be joined by a connecting thread - madness: whether that was the mischievousness of Zerbinetta’s comedy troupe, the insanity of Tom Rakewell, the metaphysical distress of Hamlet, or the mayhem prompted by Isabella’s arrival at Mustafà’s Ottoman palace, the ‘insanity’ was equally compelling.

Mefistofele at Orange’s Chorégies

This is the one where a very personable devil tells God that mankind is so far gone it isn’t worth his time to bother corrupting it further.

Mascagni's Isabeau rides again at Investec Opera Holland Park

There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.

The 2018 BBC Proms opens in flamboyant fashion

Anniversaries and commemorations will, as usual, feature significantly during the 2018 BBC Proms, with the works of Leonard Bernstein, Claude Debussy and Lili Boulanger all prominently programmed during the season’s myriad orchestral, vocal and chamber concerts.

Banff’s Hell of an Orphée+

Against the Grain Theatre brought its award winning adaptation of Gluck’s opera to the Banff Festival billed as “an electronic baroque burlesque descent into hell.”

A Choral Trilogy at the Aix Festival

What Seven Stones (the amazing accentus / axe 21), and Dido and Aeneas (the splendid Ensemble Pygmalion) and Orfeo & Majnun (the ensemble [too many to count] of eleven local amateur choruses) share, and virtually nothing else, is spectacular use of chorus.

Vintage Audi — Parsifal, Kaufmann, Pape

From the Bayerisches Staatsoper Munich, Wagner Parsifal with a dream cast - René Pape, Jonas Kaufmann and Nina Stemme, Christian Gerhaher and Wolfgang Koch, conducted by Kirill Petrenko, directed by Pierre Audi. The production is vintage Audi - stylized, austere, but solidly thought-through.

Flight Soars High in Des Moines

Jonathan Dove’s innovative opera Flight is being lavished with an absolutely riveting new production at Des Moines Metro Opera’s resoundingly successful 2018 Festival.

Fledermaus Pops the Cork in Iowa

Like a fizzy bottle of champagne, Des Moines Metro Opera uncorked a zesty tasting of Johan Strauss’s vintage Die Fledermaus (The Bat).

A spritely summer revival of Falstaff at the ROH

Robert Carson’s 2012 ROH Falstaff is a bit of a hotchpotch, but delightful nevertheless. The panelled oak, exuding Elizabethan ambience, of the first Act’s gravy-stained country club reeks of the Wodehouse-ian 1930s, but has also has to serve as the final Act’s grubby stable and the Forest of Windsor, while the central Act is firmly situated in the domestic perfection of Alice Ford’s 1950s kitchen.

Down on the Farm with Des Moines’ Copland

Ingenious Des Moines Metro Opera continued its string of site-specific hits with an endearing production of Aaron Copland’s The Tender Land on the grounds of the Maytag Dairy farm.

Des Moines’ Ravishing Rusalka

Let me get right to the point: This is the Rusalka I have been waiting for all my life.

L'Ange de feu (The Fiery Angel)
in Aix

Prokofiev’s Fiery Angel is rarely performed. This new Aix Festival production to be shared with Warsaw’s Teatr Wielki exemplifies why.

Ariane à Naxos (Ariadne auf Naxos) in Aix

Yes, of course British stage director Katie Mitchell served up Richard Strauss’ uber tragic Ariadne on Naxos at a dinner table. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps.

The Skating Rink: Garsington Opera premiere

Having premiered Roxanna Panufnik’s opera Silver Birch in 2017 as part of its work with local community groups, Garsington Opera’s 2018 season included its first commission for the main opera season. David Sawer's The Skating Rink premiered at Garsington Opera this week; the opera is based on the novel by Chilean writer Roberto Bolano with a libretto by playwright Rory Mullarkey.


OPERA TODAY ARCHIVES »

Reviews

<em>L’Ange de Nisida</em>: Opera Rara at the Royal Opera House
19 Jul 2018

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance. »

Recently in Reviews

All Pages |  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  |  13  |  14  |  15  |  16  |  17  |  18  |  19  |  20  |  21  |  22  |  23  |  24  |  25  |  26  |  27  |  28  |  29  |  30  |  31  |  32  |  33  |  34  |  35  |  36  |  37  |  38  |  39  |  40  |  41  |  42  |  43  |  44  |  45  |  46  |  47  |  48  |  49  |  50  |  51  |  52  |  53  |  54  |  55  |  56  |  57  |  58  |  59  |  60  |  61  |  62  |  63  |  64  |  65  |  66  |  67  |  68  |  69  |  70  |  71  |  72  |  73  |  74  |  75  |  76  |  77  |  78  |  79  |  80  |  81  |  82  |  83  |  84  |  85  |  86  |  87  |  88  |  89  |  90  |  91  |  92  |  93  |  94  |  95  |  96  |  97  |  98  |  99  |  100  |  101  |  102  |  103  |  104  |  105  |  106  |  107  |  108  |  109  |  110  |  111  |  112  |  113  |  114  |  115  |  116 
14 Sep 2005

SULLIVAN: Cox and Box; Trial by Jury

This new recording of two somewhat early works with music by Sir Arthur Sullivan provides a taste of Sullivan just before and just after the beginning of his famed collaboration with W. S. Gilbert. Cox and Box was produced in 1866. Trial by Jury debuted in 1875, four years after Thespis, Gilbert and Sullivan’s first work as a team. The difference is apparent if not glaring. It is mostly noticeable in Sullivan’s more nuanced response to Gilbert’s libretto, which is far more sophisticated and clever than Burnand’s nonetheless amusing effort. The transition from the end of the earlier work to the opening chorus of Trial by Jury, which immediately places us in the identifiable musical world of G&S, is remarkable. With Burnand, Sullivan is broader in his parodic musical pastiche; with Gilbert, he lets the words take over most of the satire and composes in a subtler, and even more delightful, vein. »

14 Sep 2005

PROKOFIEV: Ivan the Terrible

Prokofiev was one of a number of twentieth-century composers of art music who also devoted a significant amount of time to composing for the cinema. The eight films for which he composed scores were met with varying degrees of success, from the celebrated fame of Aleksandr Nevsky to the frustrated productions of lesser-known films such as The Queen of Spades and Tonya. Sergei Eisenstein’s colossal trilogy Ivan the Terrible, for which Prokofiev composed his final film score, was met with both extremes: Although part one of the film was released in January of 1945 to great critical acclaim, the second part was attacked during production for political reasons, even to the extreme of attracting criticism from Stalin himself. Part two would not appear in theaters until 1958, long after Prokofiev and Eisenstein were gone, and part three was never produced. »

14 Sep 2005

Ouvertüren: Music for the Hamburg Opera

The composers of these overtures — what today we would call suites — range from the world-famous George Frideric Handel to the moderately well-known Reinhard Keiser to the virtually unknown Johann Christian Schieferdecker. The works represented here also cover a range of dates: 1693 for the Ouverture no. 4 by Philipp Heinrich Erlebach to 1726 for the Suite “Ludovicus Pius” by Georg Caspar Schürmann (1672/3-1751), neither of whom have made a noticeable dent in the performance repertoire of today’s early-music groups. »

13 Sep 2005

DONIZETTI: Pietro il Grande

Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819. »

11 Sep 2005

Das Rheingold

Experienced listeners gain nothing but lose very little when a mediocre, even bad performance of Wagner’s stage works is released on DVD.  »

11 Sep 2005

BITTOVÁ: Elida

First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe – there are graphics, ideas, names, and especially musical styles that have become predictably associated with the New York... »

08 Sep 2005

Opera Australia Presents Death in Venice

Since opera began, composers have honoured, or pretended to honour, the principle that the music should serve the words, though, in reality, it is done more in the breach than the observance. »

07 Sep 2005

Fidelio in Stir

First, you signed the waiver relieving the venue of any liability for your injury or death. Then, you were handed a flashlight and felt the chill in the air – not a typical cold draft but the prickly tingle that comes with unquiet spirits nearby. »

31 Aug 2005

The Cambridge Companion to Elgar

Perhaps some Opera Today readers may wonder why a book on Sir Edward Elgar merits reviewing on this particular site. The composer never came near to completing an opera. In fact, only toward the end of his career did he... »

27 Aug 2005

AUDRAN: La Mascotte

Chances are the world of opera bouffe is somewhat foreign to most listeners. Many may know one or two operettas by Offenbach - La Perichole, perhaps, or La belle Helene and a large number of melodies from various of his works collected for the ballet Gaite parisienne. But this extensive body of works from the last quarter of the nineteenth-century is infrequently performed, and, apart from the occasional aria heard on an inventively programmed recital, the repertory today is heard about more than it is heard. The names Audran or Lecoq are largely unknown, despite their having been very popular in this country at the end of the nineteenth century. (Maurice Grau brought many French productions to New York during the 1870s and 1880s, and the operettas, sung in French, were quite popular. Productions in the original language allowed the retention of the racy dialogue and numerous double entendres - most of which would have been unacceptable in English -- so typical of these works.) »

27 Aug 2005

RABAUD: Marouf, Savetier du Caire

Like many of the nearly forgotten composers of his era, Henri Rabaud (1873-1949) had his day in the sun. A pupil of Massenet at the Paris Conservatoire, and later its director, Rabaud wrote eight operas, the most successful of which was Marouf, Savetier du Caire, which premiered in 1914 at the Opera-Comique in Paris and soon became a world wide hit. But today a mention of Rabaud's name will likely draw a blank stare, even from well versed opera aficionados. »

27 Aug 2005

ALALEONA: Mirra

I had never heard of the Italian composer Domenico Alaleona (1891-1928) when a recording of his opera Mirra arrived in the mail. Baker's gives him a respectable 22 lines, but says "his importance lies in his theoretical writings," not this opera or various collections of songs, instrumental works, and a Requiem. If you've ever come across the term "dodecaphony," well, Alaleona coined it (in Italian, of course). »

26 Aug 2005

MESSIAEN: Orchestral Works

As part of their "Gemini--the EMI Treasures" series, EMI has re-released recordings of some of Olivier Messiaen's greatest hits: the Turangalila-Symphonie (1946 - 48), Quatour pour la fin du temp (1940 - 41), and Le Merle Noir (1951, for flute and piano). This two-disc release features the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle, with Tristan Murail playing ondes martenot and Peter Donohoe on solo piano in the 1986 recording of Turangalila-Symphonie. Quatour pour la fin du temps was recorded in 1968 by Erich Gruenberg (violin), Gervase de Peyer (clarinet), William Pleeth (cello), and Michel Beroff (piano); Le Merle Noir was taken from a 1971 Abbey Road session with flutist Karlheinz Zoller accompanied by Aloys Kontarsky. These performances in their various manifestations on earlier albums have consistently received rave reviews, and with good reason. The performances are exceptional in their interpretation and the recordings have been beautifully remastered. »

26 Aug 2005

Marco Polo Film Classics, Part I

Between the 1930s and the 1950s, Hollywood composers pumped out tens of thousands of scores for what we now call "classical Hollywood films." These films often contained an hour or more of music, but few viewers would have realized this. Certainly, many of these scores included themes that became very well known--Casablanca and Gone with the Wind come immediately to mind; however, much of the music was played quietly and inconspicuously. In classical Hollywood films, music is subservient to the narrative, and generally played two main roles. First, it served the film's central narrative by heightening the emotional content of important scenes (e.g., ominous music when characters approach an abandoned castle) and revealing characters' hidden feelings (e.g., love music while two characters are fighting). Second, music gave the film a greater sense of continuity by smoothing over cuts and moving slower scenes along. »

25 Aug 2005

BONONCINI: La nemica d’Amore fatta amante

Giovanni Bononcini (Modena, 1670 - Vienna, 1747) is best known today for his dozen years in London, which began when he was 50 and Handel was 35. Five years later, a well-known epigram likened them to Tweedle-dum and Tweedle-dee . Londoners then had to decide whether Handel, compared to Bononcini, was "but a Ninny," or whether Bononcini, when matched with Handel, was "scarcely fit to hold a Candle." For many Londoners, the more luminous composer was Bononcini, since he had served munificent patrons for four decades before his arrival in England: duke Francesco II of Modena (1680s); two immensely wealthy noblemen - Filippo Colonna and Luigi de la Cerda, the Spanish ambassador - in Rome (1690s); two emperors - Leopold I and Joseph I - in Vienna (1700s); and an immensely wealthy Viennese ambassador in Rome (1710s). »

25 Aug 2005

The Death of Klinghoffer at Edinburgh

It has taken 14 years for John Adams’ second opera to reach a British stage. Scottish Opera’s production of The Death of Klinghoffer at last goes boldly where no opera company in these islands has dared before (and one of them, Glyndebourne, shared in the original commission). »

25 Aug 2005

Melodrama in Edinburgh

First performed in 1775, Georg Benda’s Ariadne auf Naxos is a melodrama in the most literal sense of the word — a work for actors and orchestra in which music is deployed to heighten the effect of emotional declamation. Even though posterity has tended to play its influence down, many in the late 18th and early 19th centuries rated it as both a masterpiece and a major vehicle for a tragic actress. This performance revealed it to be a work of considerable power. »

25 Aug 2005

The Threepenny Opera in LA

LOS ANGELES (Hollywood Reporter) – German writers Bertolt Brecht and Kurt Weill’s stylized 1928 masterpiece “The Threepenny Opera” is savagely cynical, sardonic, brittle and worldly wise—and wonderfully well-performed at the Odyssey Theater Ensemble, a tribute to savvy director Ron Sossi and a cast of 16 talented and eager performers. »

23 Aug 2005

THOMAS: Polish Music since Szymanowski

Throughout the history of Poland, music has been an enduring force in its culture, and Polish composers were at the forefront of a number of developments in the twentieth century. »