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Elsewhere

A Winterreise both familiar and revelatory: Ian Bostridge and Thomas Adès at Wigmore Hall

‘“Will you play your hurdy-gurdy to my songs?” the wanderer asks. If the answer were to be a “yes”, then the crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again. This could explore a notion of eternal recurrence: we are trapped in the endless repetition of this existential lament.’

Stars of Lyric Opera at Millennium Park, 2018

Lyric Opera of Chicago’s annual concert, Stars of Lyric Opera at Millennium Park, given during last weekend, was both a tribute to the many facets of opera and a preview of what lies ahead in the upcoming repertoire season.

Classical Opera: Bastien und Bastienne on Signum Classics

Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.

A Stunning Semiramide from Opera Rara

In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.

Dorothea Röschmann at Wigmore Hall: songs by Schumann, Wolf and Brahms

One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign. It certainly did not here, in a wonderfully involving recital of songs by Schumannn, Wolf, and Brahms from Dorothea Röschmann and Malcolm Martineau.

Two of Garsington Opera's 2018 productions to reach a wider audience

Garsington Opera is delighted to announce that on Saturday 6 October, BBC Radio 3’s ‘Opera on 3’, will broadcast the production of its first festival world premiere - The Skating Rink by David Sawer set to a libretto by Rory Mullarkey based on a novel by Chilean author Roberto Bolaño.

The Path of Life: Ilker Arcayürek sings Schubert at Wigmore Hall

Wigmore Hall’s BBC Radio 3 Lunchtime Concert 2018-19 series opened this week with a journey along The Path of Life as illustrated by the songs of Schubert, and it offered a rare chance to hear the composer’s long, and long-germinating, setting of Johann Baptist Mayrhofer’s philosophical rumination, ‘Einsamkeit’ - an extended eulogy to loneliness which Schubert described, in a letter of 1822, as the best thing he had done, “mein Bestes, was ich gemacht habe”.

Heine through Song: Florian Boesch and Malcolm Martineau open a new Wigmore Hall season

The BBC Proms have now gone into hibernation until July 2019. But, as the hearty patriotic strains rang out over South Kensington on Saturday evening, in Westminster the somewhat gentler, but no less emotive, flame of nineteenth-century lied was re-lit at Wigmore Hall, as baritone Florian Boesch and pianist Malcolm Martineau opened the Hall’s 2018-19 season with a recital comprising song settings of texts by Heinrich Heine.

Elgar Orchestral Songs - SOMM

Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.

Prom 74: Handel's Theodora

“One of the most insufferable prigs in a literature.” Handel scholar Winton Dean’s dismissal of Theodora, the eponymous heroine of Handel’s 1749 oratorio, may well have been shared by many among his contemporary audience.

Remembering and Representing Dido, Queen of Carthage: an interview with Thomas Guthrie

The first two instalments of the Academy of Ancient Music’s ‘Purcell trilogy’ at the Barbican Hall have posed plentiful questions - creative, cultural and political.

Landmark Productions and Irish National Opera present The Second Violinist

Renaissance madrigals and twentieth-century social media don’t at first seem likely bed-fellows. However, Martin - the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh - is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism.

The Rake's Progress: British Youth Opera

The cautionary tale which W.H. Auden and Chester Kallman fashioned for Igor Stravinsky’s 1951 opera, The Rake’s Progress - recounting the downward course of an archetypal libertine from the faux fulfilment of matrimonial and monetary dreams to the grim reality of madness and death - was, of course, an elaboration of William Hogarth’s 1733 series of eight engravings.

Prom 71: John Eliot Gardiner and the Orchestre Revolutionaire et Romantique play Berlioz

Having recently recorded the role of Dido in Berlioz' Les Troyens on Warner Classics, there was genuine excitement at the prospect of hearing Joyce DiDonato performing Dido's death scene live at the BBC Proms. She joined John Eliot Gardiner and the Orchestre Revolutionaire et Romantique for an all-Berlioz Prom at the Royal Albert Hall on Wednesday 5 September 2018. As well as the scene from Les Troyens, DiDonato sang La mort de Cleopatre and the orchestra performed the overture Le Corsaire and The Royal Hunt and Storm from Les Troyens, and were joined by viola player Antoine Tamestit for Harold in Italy.

ENO Studio Live: Paul Bunyan

“A telegram, a telegram,/ A telegram from Hollywood./ Inkslinger is the name; And I think that the news is good.” The Western Union Boy’s missive, delivered to Johnny Inkslinger in the closing moments of 1941 ‘choral operetta’ Paul Bunyan and directly connecting the American Dream with success in Tinseltown, may have echoed an offer that Benjamin Britten himself received, for the composer had written expectantly to Wulff Scherchen on 7th February 1939, ‘(((Shshshsssh … I may have an offer from Holywood [sic] for a film, but don’t say a word))).’ Ten days later he wrote again: ‘Hollywood seems a bit nearer - I’ve got an interview with the Producer on Monday’.

Young audience embraces Die Zauberflöte at Dutch National Opera

The Dutch National Opera season opens officially on the 7th of September with a third run of Simon McBurney’s production of Mozart’s Die Zauberflöte, an unqualified success at its 2012 premiere. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival.

Prom 67: The Boston Symphony Orchestra play Mahler’s Third

Mahler and I, at least in the concert hall, parted company over a decade ago - and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music. This was my tragedy with Mahler.

Bampton Classical Opera Goes to the Ball

I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses - even postage stamps - and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.

A Landmark Revival of Sullivan's Haddon Hall

With The Gondoliers of 1889, the main period of Arthur Sullivan's celebrated collaboration with W. S. Gilbert came to an end, and with it the golden age of British operetta. Sullivan was accordingly at liberty to compose more serious and emotional operas, as he had long desired, and turned first to the moribund tradition of "Grand Opera" with Ivanhoe (1891).

Die Meistersinger at Bayreuth

Famously, controversy is the stuff of Bayreuth, be it artistic, philosophic or political. As well occasionally a Bayreuth production can simply be illuminating, as is the Barrie Kosky production of Wagner’s only comedy, Die Meistersinger.


OPERA TODAY ARCHIVES »

Reviews

Ian Bostridge
18 Sep 2018

A Winterreise both familiar and revelatory: Ian Bostridge and Thomas Adès at Wigmore Hall

‘“Will you play your hurdy-gurdy to my songs?” the wanderer asks. If the answer were to be a “yes”, then the crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again. This could explore a notion of eternal recurrence: we are trapped in the endless repetition of this existential lament.’ »

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06 Jul 2005

ZELENKA: Die Responsorien zum Karfreitag
TUMA: Sonatas in A minor & E minor; Sinfornia in B major

In the Baroque era, the liturgical intensity of Holy Week and the affective richness of its themes would find a powerful echo in the music of various European chapels. Old-fashioned counterpoint on antique models would solemnify the sound, while the expressive harmonic freedoms of the day would bring the affective sense of words and themes into sharp focus. This dual path is much in evidence in the Responsories for Good Friday by Jan Dismas Zelenka, recorded here by the Czech ensembles, Boni pueri and Musica Florea. »

05 Jul 2005

La Bohème in Zurich — Two Reviews

Giacomo Puccini’s “La Boheme” is really a winter piece. It is the cold and the dark that draw seamstress Mimi together with poet Rodolfo. Christmas in Cafe Momus brings the illusion of warmth, though not even the spring of the last act can take the chill from dying Mimi’s hands. »

05 Jul 2005

Giulio Cesare at Glyndebourne — Four Reviews

LEWES, England, July 3 – Glyndebourne’s achievements are too various for one to speak of a company style, but there is certainly a Glyndebourne scent: of excellence and elegance, of singers and musicians enjoying at once the freedom gained by thorough rehearsal and the intimacy of a small, warm house. And its waft is strong, luxurious and exciting around the new production of Handel’s “Giulio Cesare,” which opened on Sunday afternoon. »

04 Jul 2005

Turandot at Santa Fe

The Santa Fe Opera waited almost 50 years to mount Puccini’s final opera, Turandot—a warhorse of a work full of color and pageantry, and a heart-breaking love story. Puccini died before he could finish the work, whose story comes from myth and fable. »

04 Jul 2005

THOMAS: Aesthetics of Opera in the Ancien Régime, 1647-1785

Contrary to what one might expect from its title, Downing A. Thomas' book on Aesthetics of Opera in the Ancien Régime is not a comprehensive historical treatment of the subject. Instead, the chapters — which seem to have been drawn from separate articles or other studies — cover a wide range of topics, but are successfully drawn together through a view of aesthetics from a pre-nineteenth-century vantage point; according to Thomas, discussions of aesthetics from the time of the ancien régime "rose out of the many developments in medicine and philosophy ... in relation to questions of sensibility, sympathy, and taste" (p. 323). Cultural and aesthetic issues of the day centered on "the experience of passion, of intersubjective feeling, and of pleasure" (p. 323). Thomas' work rests on extensive studies of philosophical and theoretical writings from the seventeenth and eighteenth centuries, but it also shows a broad knowledge of present-day analytical approaches and musical and cultural studies. Thomas uses this broad range of sources to argue for the importance of opera as an influence on — and a reflection of — French culture and thought during the ancien régime. The author identifies two basic assumptions that lie behind the varied studies in the book: "First, ... individual operas not only display traces of the aesthetic and ideological circumstances of their creation, but ... they also engage productively in those circumstances. Second, ... opera came to serve as a touchstone in the eighteenth century for understanding the mechanisms behind human feeling and for reflecting upon how emotion impacts social relations." »

03 Jul 2005

FLECHA: Ensaladas

This is a recording that makes a full meal of various salads: in this case, several ensaladas by the Spanish composer most associated with the form, Mateo Flecha, the elder (?1481-1553). Ensaladas toss together different languages and verbal quotations (sometimes musical quotation, as well) in a quodlibet that promotes an appealing sense of variety within the unified frame of their textual themes. »

03 Jul 2005

Claudio Abbado: Hearing the Silence — Sketches for a Portrait

Five minutes into this DVD there has been a lot of talk on Abbado’s aura, his aristocratic reserve and the fact that he is a private thinker. With a deep sigh I was reminded of some of those dreadful documentaries on Arte (a German-French arts channel which I have on cable) that have promising titles and then soon lose themselves in a lot of philosophical treatises without any real content. And what was almost the last image of this documentary?: “In collaboration with Arte” »

03 Jul 2005

Gerhard Hüsch Sings Die schöne Müllerin & An die ferne Geliebte

With a masterpiece like Schubert’s Die schöne Müllerin, each generation of singers seems to rediscover the music and make the work its own. The nature of music almost demands that performers arrive at their own approaches, and the resulting differences offer insights into the way the music works and, perhaps, on how perception functions. With something as familiar as Die schöne Müllerin, it is possible to gain some perspective by listening to the way a singers of earlier generations performed the work to sample it, just as aficionados appreciate wine at vertical tastings. By approaching the music in this manner, it is possible to put the differences in perspective by using the nuances as points of reference where interpretations diverge. »

02 Jul 2005

SCHUBERT: Die Schöne Müllerin

An important thing to realize about this DVD is that it is not so much about Die Schöne Müllerin as about the performers, pianist András Schiff and especially baritone Dietrich Fischer-Dieskau. There are no liner notes about the song cycle itself, and if you want to see texts or translations you watch them go by as subtitles during the performance (you may choose German, English, French, Spanish, Italian, or none.). But, since the cycle is quite well-known, largely through the earlier recordings by Fischer-Dieskau with other collaborators, this omission is not grave enough to detract from the real focus of the DVD: to make publicly available a 1991 performance at the Feldkirch Schubertiade, in which two Schubertiade regulars, Fischer-Dieskau and Schiff, performed together for the first time. The record of the performance is doubly significant because, while Fischer-Dieskau earlier in his career had been one of the preeminent performers of Die Schöne Müllerin, he had not performed it since 1971, and he was to retire from public performance two years later. »

02 Jul 2005

A Review of Kupfer's Production of Der fliegende Holländer

When I was young, my father said: Don’t judge others before hearing them through, listen before interrupting. His advice applies so well to Wagnerian opera, with its potential for diverse interpretation. The greatest works of art have the power to speak beyond restricted parameters of space and time. We may have a preference for one style or another, but when we listen to a new production, it’s a good idea to listen to it for what it conveys on its own terms. Whether we like or dislike something isn’t ultimately the point, for we learn something along the way. »

30 Jun 2005

Rossini's Il viaggio a Reims

When Rossini’s Il viaggio a Reims was rediscovered more than two decades ago, its musical brilliance was immediately recognised. But its almost nonexistent plot, designed to incorporate an abundance of superstars, lent credence to Rossini’s decision to withdraw the opera once it had served its purpose — providing entertainment for the coronation of Charles X of France. Experiencing Il viaggio in the theatre, however, reveals its unconventional drama about a collection of upper-crust Europeans thwarted in their plans to attend the coronation to be an essential strength. The very triviality points up human foibles and, in the context of Rossini’s elaborate music, supplies a source of hilarity. »

30 Jun 2005

Così fan tutte at San Francisco

The San Francisco Opera’s 2004-05 season is winding down in nicely palindromic fashion. The company’s final offering, which opened (or reopened) Friday night at the War Memorial Opera House, is a revival of the handsome new production of Mozart’s “Così fan tutte” that began the season back in September, and its virtues remain essentially intact. »

29 Jun 2005

VERDI: Il Corsaro

The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score. »

29 Jun 2005

Teatro La Fenice: Gala Reopening

The liner notes dryly state that “This was a stringent programme for an opening-concert audience used to lighter fare at such events.” In the past this would surely have been true but together with “Das Regietheater,” there is now a firm tradition in European houses that the reason for their very existence is art, and preferably in its purest form. Audiences are not there to amuse themselves or even to enjoy the music but to ponder on whatever life’s questions may be at that exact moment. They are mightily helped in their endeavours by conductor Riccardo Muti who cannot be caught with a single smile on his face during more than an hour of music making. Therefore a house where five operas by Giuseppe Verdi were premièred cannot be expected to open with such banalaties as Ernani, Attila, Rigoletto, La Traviata or Simon Boccanegra. Even worse would have been a concert with some prominent singers performing well-known arias and duets from these operas. The danger of enjoyment would have been too great. A conductor who reopened La Scala one year later with that immortal masterpiece L’Europa riconosciuta can be expected to make more original choices. Muti preferred lesser known music by maestros who had some ties with the city itself, even with the opera house. »

28 Jun 2005

HENZE: L’Upupa oder Der Triumph der Sohnesliebe

Henze’s magical opera L’Upupa oder Der Triumph der Sohnesliebe (L’Upupa or the Triumph of Filial Love) bears the subtitle, “a German comedy in eleven tableaux based on the Arabic.” The “Arabic” here refers to a traditional dream-tale from Syria, around which Henze crafted his libretto (his first such effort as a librettist). Like dreams, which condense from memory several images (of people, objects, actions) that share underlying characteristics into single composite dream figures, L’Upupa condenses many stories and characters into its over determined images. Far from pastiche, however, Henze’s condensations cohere in a compelling tale. »

28 Jun 2005

Meyerbeer's Les Huguenots at Liège

This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous ‘nuit de Saint-Bartholomée’ (St. Bartholomew’s Day Massacre). One is now almost so used to the excesses of ‘das Regie-Theater’ that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing. »

27 Jun 2005

The Fairy Queen at Aldeburgh Festival

NO FLOTILLA of swans, no dancing green men, no grand descent of the Sun King; in fact no big production numbers at all. Yet this concert performance of Purcell’s The Fairy Queen will be a hard act for the forthcoming Proms appearance to follow. »