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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. »

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24 Apr 2005

Mozart's La Finta Giardiniera at Boston University

Last night I saw the second of four performances of Mozart’s La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition. »

22 Apr 2005

GOUNOD: Polyeucte

In spite of the fact that Gounod had a special fondness for Polyeucte, it was among the least successful of his many operas. In fact, he was reported to have considered it as the favorite of his works. It was first composed around the time of the Franco-Prussian war. »

22 Apr 2005

WILLIAMS: Wagner and the Romantic Hero

There is no doubt that Richard Wagner as an artist, composer, and writer was the center of controversy both during and after his lifetime. Despite the overwhelming political, social, and psychological elements contained in his musical oeuvre, Wagner is one of the more enduring figures in the history of the arts. Based on lectures delivered at the Bayreuth Festival between 1998 and 2000, Simon Williams examines a topic that has generated much interest and scrutiny both within the arts and outside of it: Wagner’s treatment of the hero. »

22 Apr 2005

Joan La Barbara. Voice is the Original Instrument: Early Works (1974-1980)
Jacqueline Humbert. Chanteuse

You can rely on Lovely Music. The new-music label Lovely Music invariably provides some of the most interesting new music available on recordings. They can be relied upon in a business with its fair share of unreliables — immaturity, bad quality recording, sophistry — to give good quality interesting recordings of innovative work. They’ve been around for at least two decades, and their catalog covers some of the very best in what can be called “downtown” new music — conceptual music influenced in large part by John Cage, world music, and modern American art and dance after abstract expressionism (let’s say Warhol and after). Their rather humble website is at www.lovely.com, and really tells only a small part of their story. For someone exploring American new music for the first time, they make a very good starting point. »

21 Apr 2005

GLASS & MARSHALL: Les Enfants Terribles — Children of the Game

Well I’m trying. The liner notes read: “Les Enfants Terribles, the final installment of Philip Glass’ trilogy based on the work of Jean Cocteau, articulates Cocteau’s belief in the transcendent power of imagination and creativity. It is the story of a brother and a sister, Paul and Lise, two characters so caught up in a world of their own imaginings that they can no longer see a reality beyond their ‘game’.” The music on this cd is the accompaniment to a dance/opera (and thus it’s only half the story — to be as fair as possible to thing). The work is scored for three singers and a narrator, accompanied by three keyboards. »

21 Apr 2005

SAARIAHO: Cinq reflets de L'Amour de loin; Nymphea Reflection; Oltra Mar

This is very pleasant new music, long in breath, richly scored, nice poetry, nothing pretentious, but good solid rewarding composition. Ms. Saariaho is truly adept at making a great orchestral score, and she has a way with voices, particularly Pia Freund’s on the first track, which truly soars. »

20 Apr 2005

Berg's Lulu at ENO

Richard Jones’s English National Opera production of Berg’s Lulu was widely regarded as one of the company’s finest achievements when it premiered in 2002. The first night of its revival, however, was a somewhat awkward affair, in which illness regrettably played its part. Lisa Saffer (Lulu) and Susan Parry (Geschwitz) were singing with apologies, after suffering from throat infections. Fine actresses both, they compensated for vocal roughness with performances of uncommon dramatic vividness, though Saffer’s understandable tentativeness inevitably meant that we were faced with a Lulu whose physical glamour was unsupported by equivalent vocal allure. »

20 Apr 2005

Henze's The Bassarids in Paris Without Orchestra

No other city puts on a welcome quite like Paris. When the Olympic committee came to evaluate the city’s bid to host the games, they were greeted by strikes, and last week the Théâtre du Châtelet’s bid for artistic glory met with a similarly thumb-to-the-nose response. »

20 Apr 2005

Gounod's Faust at the Met — A Preview

Tomorrow night, the Metropolitan Opera unveils a new production of Charles Gounod’s “Faust,” its sixth. The musical expectations are high. James Levine, the Met’s music director, is conducting the opera for the first time, leading an international A-list cast: the French-Sicilian tenor Roberto Alagna as Faust, one of his signature roles; the Finnish soprano Soile Isokoski as Marguerite, the innocent he seduces and abandons; the German bass René Pape as Méphistophelès, an eagerly anticipated role debut; and the Russian baritone Dmitri Hvorostovsky as the soldier Valentin, Marguerite’s brother. »

20 Apr 2005

Menotti's The Consul in Arizona

Even though no sensation-hungry opera director has tampered with Gian Carlo Menotti’s The Consul to “update” the work in today’s all-too-common effort to make opera “relevant” to modern audiences, this half-century-old opera has not lost one iota of such relevancy. »

19 Apr 2005

Sir Thomas Allen: Great Operatic Arias

Some 20 years ago I ended my subscription to Opera Magazine after an article by its editor, the late Harold Rosenthal. He had written a review of La Clemenza di Tito that described tenor Stuart Burrows in words that, for those who did not attend the performance, they had missed the second coming of Enrico Caruso, Jussi Björling and Beniamino Gigli in one person. I had attended and I knew that Rosenthal and his colleagues could be almost funny in their chauvinism but enough was enough. Well, I’m happy to report the old tradition still lives on. I looked at some reviews of this recital by British critics and Giuseppe De Luca, Tito Gobbi and Robert Merrill in their heydays would have been proud of such notices. »

19 Apr 2005

The Cambridge Companion to the Lied

Books described as a "Companion" to this or that and published by university presses should be required to come with a Reader Beware label. As is the case with many books put out by university and many for-profit publishers, the main reason for publishing these is to advance the tenure and promotion prospects of the authors. This is not a bad thing, except that all too often the books aren't very good. »

18 Apr 2005

Muti in New York

Riccardo Muti, the Italian conductor, has been much in the news lately, having quit La Scala – that is an interesting story. But that is not today’s story: Mr. Muti was in New York last week, for a subscription series with the Philharmonic. On his program were two seldom-heard works, the first more seldom heard than the second: Goffredo Petrassi’s “Coro di morti” (“Chorus of Dead Ones”) and Liszt’s “Faust Symphony.” Saturday’s was a concert of the highest order. »

18 Apr 2005

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer

For whom is this fine CD? It is published by Hänssler Verlag; a publishing house that specializes in Christian literature and that has a classical record branch as well. »

18 Apr 2005

Anna in Köln

KÖLN. Als Anna Netrebko ihre Stimme zum silbernen Mond hob wie Rusalka in der gleichnamigen Märchenoper Antonín Dvoráks, tönten die ersten Bravi der 8000 Gäste in der Großoper Kölnarena. Annas Aufstieg ist märchenhaft verlaufen; von Kälte, dem Problem der Nixe Rusalka, war in der gut geheizten und besuchten Halle keine Spur, und einen Prinzen musste sie nicht verführen, sie hat ihn einfach angerufen. José Cura, der gut aussehende und zudem stimmgewaltige Tenor aus Argentinien, war der Einladung gern gefolgt. »

17 Apr 2005

Nabucco at Opera Australia

Despite Nabucco’s rudimentary plot and underdevelopment of its subsidiary characters, its dignity is maintained through its music, which, although still primitive by Verdian standards, already shows signs of the greatness to come. »

17 Apr 2005

Michelle DeYoung in Chicago

Michelle DeYoung, to seriously understate the fact, looked radiant. The first of three performances as Sieglinde and Waltraute in Lyric Opera of Chicago’s hugely successful production of Wagner’s “The Ring of the Nibelung” was behind her, and the American mezzo-soprano seemed to be counting the minutes until she would be back on the Civic Opera House stage making passionate love to Placido Domingo, Siegmund to her Sieglinde in this production. Her cloud of long, crisply crinkled blond hair caught the light like an angel’s aureole as she settled into a conference room backstage at Lyric. She was revved up to talk about her transformation from a Colorado-reared, conservative Christian teenager whose chosen life goal was to marry and have lots of children into an opera singer in demand across the United States and Europe. »

17 Apr 2005

La Vie parisienne at Théâtre Silvia-Monfort

Fondé en 1985 par Olivier Desbordes, Opéra Eclaté Midi-Pyrénées est bien connu des amateurs d’art lyrique qui fréquentent, au mois d’août, le festival de Saint-Céré (Lot). Cette compagnie nationale de théâtre musical, fixée depuis 1996 à Tarbes (Hautes-Pyrénées), trouve toutefois sa raison d’être dans une décentralisation qui s’est traduite pendant vingt ans par plus de 900 représentations données en France et à l’étranger. »

16 Apr 2005

García's L'isola disabitata at Wake Forest University

The second of two performances of Manuel García’s L’isola disabitata (The Uninhabited Island) in WFU’s Brendle Recital Hall on April 8 was a happy marriage of musicological scholarship and practical vocal pedagogy. I am familiar with Teresa Radomski’s work as an opera and oratorio soloist; the focus of her scholarship – the careful transcription of manuscripts and the creation of a performing edition of a salon opera by García – was fascinating. Her splendid program notes place the work in its historical context and recount aspects of her research. She transcribed the score from a complex original manuscript in the Bibliothèque Nationale (Paris) while on research leave. With her brother, musicologist James Radomski, she completed a critical edition of the opera which is being published by A-R Editions, Inc. »

15 Apr 2005

Lotte Lehmann: “Frauenliebe und Leben” — Works by Schumann, Brahms, Schubert and Sacred Songs

Of all the singing geniuses of the 20th century, Lotte Lehmann is among the forefront. Though not blessed with the most beautiful voice or impressive technique, Lehmann knew how to reach her audience through unmatched musical interpretation and expression. She was able to win the love of her audience, and now, almost a century from the start of her career, the world continues to sing her praises. »

15 Apr 2005

Ariodante in Vienna

Am 8. Jänner 1734 wurde erstmals eine Oper von Georg Friedrich Händel am Royal Opera House in Covent Garden gespielt. “Ariodante” hieß sie – und wurde ein voller Publikumserfolg. Bald darauf fiel das Werk in einen 200-jährigen Dornröschenschlaf. Erst ab 1927 erlebte es eine Renaissance, wurde in Stuttgart gespielt, an der Berliner Staatsoper, beim Salzburger Pfingstfestival. In Wien war die opera seria, die auf demselben Stoff beruht wie Shakespeares “Viel Lärm um nichts” (auf “Orlando furioso” von Ariosto), noch nie zu sehen. »