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Elsewhere

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’


OPERA TODAY ARCHIVES »

Reviews

<em>Rigoletto</em>, Royal Opera House, Covent Garden
17 Dec 2017

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts. »

Recently in Reviews

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17 May 2005

Verdi's I Masnadieri in Lüttich/Liège

Für Jean-Pierre Haeck war es eine gelungene Premiere. Für das Publikum war der Abend die Begegnung mit einem Höhepunkt des verdischen Belcanto, einer Oper, die zu unrecht ein wenig in Vergessenheit geraten ist. »

17 May 2005

Jenufa at El Liceu

El Liceu estrena esta noche Jenufa, una gran ópera del compositor checo Leos Janacek, con libreto de Gabriella Preissova, en una producción de la ópera de Hamburgo que se ha visto en el Covent Garden y el Metropolitan. »

17 May 2005

Cyrano at the Met

NEW YORK—There’s a line in Act 2 of Franco Alfano’s rarely heard opera “Cyrano de Bergerac” that marks a critical turning point in the sad story of a poet’s unrequited love: “The Tiger’s awakening.” It’s said to Cyrano, the artist with a short temper, a fast sword and an excruciatingly big nose. But it might well stand for the effect tenor Placido Domingo had on audiences Friday night at the Metropolitan Opera when he sang the title role, a new role and the 121st of his exceptionally long and productive career. »

17 May 2005

BROWNE: Music from the Eton Choirbook

For more than a quarter century, Peter Phillips and the Tallis Scholars have achieved great distinction in the performance of sixteenth-century polyphony, bringing to that repertory interpretations of engaging directness, rhythmic vitality, and fullness of tone. These are qualities that are admirably well suited to the music of the Eton Choirbook and one of its most representative composers, John Browne, the subject of this recent recording. »

16 May 2005

Gheorghiu Sings Puccini at Festival Hall

This strange effort was billed as a Celebratory Gala Concert: Angela Gheorghiu Sings Puccini. Just what we were meant to be celebrating was unclear. But what we got was Gheorghiu singing eight Puccini arias, plus his Salve Regina, together with a couple of encores. »

16 May 2005

Der Rosenkavalier at the Wiener Staatsoper

Philippe Jordan leitete eine musikalische Neueinstudierung des “Rosenkavalier” mit Johan Botha als Überraschungsgast. Ganz auf kammermusikalische Finesse hatte Philippe Jordan diesen Strauss angelegt. Freilich führte er das makellos, mit kostbaren Soli aufspielende Staatsopernorchester meist so straff, dass selbst die Walzerpassagen sich selten zu brillantem Glanz aufschwangen. »

16 May 2005

Jeptha at ENO

Katie Mitchell’s staging of Handel’s last original oratorio was widely admired when presented by Welsh National Opera two years ago. Transported from Cardiff’s New Theatre to the Coliseum for English National Opera’s share of the production, whatever dramatic and musical force it had originally has been dissipated. That may be partly the result of the transfer to a much larger auditorium, but the real problems seem more deeply rooted in the production itself. »

13 May 2005

Premiere of Hildegard

I DON’T say that James Wood’s new opera about everyone’s favourite 12th-century abbess, Hildegard of Bingen, broke the Trade Descriptions Act. But I imagine that many Norfolk and Norwich Festival patrons, lured by the promise of “a spectacle of sound and light”, thought that they were going to get one of those grandiose cathedral son et lumière shows, with the voice of someone like Donald Sinden doing a lugubrious narration while stained-glass windows gently light up. »

13 May 2005

Rigoletto at the Mariinsky

Verdi’s “Rigoletto,” a long-standing audience favorite, received languid treatment from Italian director Walter Le Moli, whose interpretation of the opera premiered at the Mariinsky Theater on May 6 and 7. »

13 May 2005

Prokofiev at the Helikon

For its first new production since May of last year, Helikon Opera chose to honor the 60th anniversary of the end of World War II in Europe with the premiere last Saturday of “Fallen from the Sky,” a operatic pastiche based on two war-related works by Sergei Prokofiev. »

12 May 2005

Angela Gheorghiu at Festival Hall

There are sopranos, and there are divas. Angela Gheorghiu is definitely one of the latter. You know straight away from watching her stride on to the stage why this woman wins her battles with directors and conductors. »

11 May 2005

Britten's War Requiem at Royal Festival Hall, London

Flag-waving celebrations may have been the order of the day across the river, but a far more thoughtful marking of the VE Day anniversary was to be found in the London Philharmonic’s tribute, which almost inevitably took the form of Britten’s War Requiem. What wasn’t inevitable was that it should be led by the orchestra’s chief conductor, who spent VE day as a teenage German soldier in an Allied prisoner-of-war camp. However, it seemed right that Kurt Masur was there. »

11 May 2005

Il Corsaro in Genoa

It would be easy to say that the best thing about Il Corsaro is its brevity. There isn’t one item in the young Verdi’s compositional bag of tricks that he didn’t brandish with greater flair elsewhere. Written when the composer was Paris-based and exploring new artistic directions, it suffers from a sense that he was going through the motions. But the Teatro Carlo Felice accords Il Corsaro the respect it would any other Verdi opera, and the rewards are substantial. »

11 May 2005

BØRRESEN: The Royal Guest

When this CD arrived, I had never heard of Danish composer Hakon Børresen (1876–1954). Baker’s gives him only a few lines, and a Google search didn’t turn up much information until I found a Danish site (www.samfundet.dk) with interesting biographical details to supplement the little biography in the CD notes. When I put the CD on and sat back to listen, I suddenly realized I had heard, if not heard of, Børresen before. It’s Richard Strauss! Or maybe Edward Elgar. The composer seems to have remained firmly rooted in the nineteenth century (or maybe Hans Pfitzner) until his death, three years after that of Arnold Schoenberg. That he retained his leadership of the Danish Composers’ Society during the Nazi occupation until he was ousted in 1948 may say something about his conservative nature as well. »

11 May 2005

BRUBECK: Songs

This problematic recording is another in Naxos’s “American Classics” series, an important body of releases that demonstrates the broad reach of American music across two centuries. While some of the recordings are decidedly novelties, they are welcome as such. William Henry Fry’s “Santa Claus” Symphony, for instance, deserves to be heard as well as mentioned in textbooks. The songs of Dave Brubeck, however, are certainly more than novelties, despite their not being as well known or as widely heard as the music of his justly famous quartet. »

10 May 2005

Ernani at Parma

No city is more closely identified with Verdi than Parma – the urban centre closest to the composer’s rural home – and it polishes its image with an annual Verdi festival. As Parma is also home to the National Institute of Verdi Studies, scholarly gatherings play a role, and several visiting orchestras appear. But the festival’s mainstay rests in the Teatro Regio with two new opera productions. »

10 May 2005

Mara Zampieri: A Tribute to Verdi

The recurring practice in classical recording studios is “re-mastering” recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who released only a handful of commercial recordings and no personal compilations. Myto’s new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently. »

10 May 2005

Rossini's Il Barbiere at Münchner Rundfunkorchester

Das war ein Ensemble! Musikalisch ganz auf Rossinis Spur. Und komödiantisch? Da reichten 50 Quadratzentimeter pro Person, um anzudeuten, was auf einer Opernbühne abgegangen wäre. Denn leider handelte es sich beim jüngsten Münchner “Barbier von Sevilla” nur um eine konzertante Aufführung. Wieder einmal trumpfte das Münchner Rundfunkorchester mit der Oper auf. Diesmal nicht mit einer Rarität, sondern mit einem Top-Ensemble, das eigentlich von Vesselina Kasarova als Rosina angeführt werden sollte. Doch für die Erkrankte sprang kurzfristig Elina Garanca ein und sahnte – zusammen mit ihren Kollegen – beim Sonntagskonzert im Gasteig mächtig ab. »

10 May 2005

Shostakovich's Moscow, Moscow at the Wiener Kammeroper

Sascha und Mascha, jung verheiratet, treffen einander einmal täglich ir gendwo in Moskau und träumen von einer eigenen Wohnung. Semjon Semjonowitsch Baburow und seine Tochter sind obdachlos geworden – das alte Haus in der “Warmen Seitengasse” ist eingestürzt. Der Sprengstoffexperte und “Dissident” Boris möchte nach Jahren fern von Moskau hier seine große Liebe finden. Und da sind dann noch Sergej und seine angebetete, stramm linientreue Bauarbeiterin Ljusja, auch auf der Suche nach einer Bleibe. »

10 May 2005

Tales of Hoffmann at Seattle

Jacques Offenbach’s “The Tales of Hoffmann” has to be one of the most problematic and untidy operas in the international repertory. Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound—since the score was unfinished at the time of the composer’s death—as well as different opinions, almost by definition, about what should and should not be included in any performing edition. »

09 May 2005

Handel's Aci, Galatea e Polifemo in London

The Grand Tour, whereby wealthy Britons travelled through Europe, in particular Italy, imbibing culture at its fountainhead, is the theme of this year’s Lufthansa Baroque Festival. The opening concert focused on Handel, whose reasons for going to Italy were professional, and whose route was unusual. German-born and trained, Handel spent four years in Italy in his early 20s, learning everything he needed to know about the Italian style, and particularly how to write Italian opera. Moving to London, he became its leading purveyor to English audiences for 30 years. »

09 May 2005

Der Ring Along the Amazon

MANAUS, Brazil, May 8 – Richard Wagner set his fantastical world of Valkyries, gnomes and giants along the Rhine, not the Amazon. But this is a city with a long history of thinking large and even outlandishly, which is how the Amazonas Opera Festival here has ended up staging Wagner’s sprawling four-part “Ring of the Nibelungen” cycle in the heart of the world’s biggest rain forest. »

09 May 2005

Margaret Garner Premiere

DETROIT, May 8 – Grand opera is happiest when the issues are big and little neutral ground stands between good and evil. What better topic than American slavery and its aftermath? The Michigan Opera Theater’s premiere performance of “Margaret Garner” on Saturday night had heated the passions, stirred guilt and broken a lot of hearts before a word or a note was written. »

09 May 2005

WEILL: Die sieben Todsünden

A new recording of Kurt Weill’s (1900 – 1950) ballet chanté, Die 7 Todsünden (1933) featuring Anja Silja and the SWR Rundfunkorchestra Kaiserslautern and conducted by Grzegorz Nowak, has recently been made available in the U.S. on the Hässler-Classic label. Also included on the CD is Weill’s Quodlibet, opus 9 (1923) — an orchestral arrangement taken from his 1922 children’s pantomime, Zaubernacht. »

09 May 2005

ZANDONAI: Francesca da Rimini

Strange to think that Magda Olivero has to thank Renata Tebaldi and Maria Callas for two of her best known live recordings. Tebaldi cancelled the famous Adriana Lecouvreur performances in Naples 1958 (Corelli, Bastianini, Simionato) and La Scala originally wanted Callas as Francesca da Rimini. Twice Olivero substituted and made the role so much her own that whenever one of these operas pops up in a conversation so does Olivero’s name. Contrary to Adriana, Francesca was not a staple in the soprano’s repertoire. She sang a few performances with Alessandro Ziliano and Tullio Serafin in Torino in 1940 and only returned to the role 19 years later for her second and last run of Francescas. »