Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Elsewhere

San Jose Pops the Cork With Fledermaus

Opera San Jose vivaciously kicked off its 2019–2020 season with a heady version of Strauss’ immortal Die Fledermaus that had all the effervescence of vintage champagne.

Tempestuous Francesca da Rimini opens Concertgebouw Saturday matinee series

Two Russian love letters to the tragic thirteenth century noblewoman Francesca da Rimini inaugurated the Saturday matinee series at the Concertgebouw.

Erich Wolfgang Korngold: Die Tote Stadt

Die Tote Stadt, an opera in three acts.

Music composed by Erich Wolfgang Korngold (1897-1957). Libretto by Paul Schott (Julius and E. W. Korngold) after the novel Bruges la morte by Georges Rodenbach.

Immortal Beloved: Beethoven Festival at Wigmore Hall

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

Stars of Lyric Opera at Millennium Park 2019

Lyric Opera of Chicago presented this year’s annual concert, Stars of Lyric Opera at Millennium Park. The evening’s program featured a range of selections from works to be presented in the 2019–2020 season along with arias and scenes from other notable and representative operas.

Prom 74: Uplifting Beethoven from Andrew Manze and the NDR Radiophilharmonie Hannover

Ceremony, drama and passion: this Beethoven Night by the NDR Radiophilharmonie Hannover under their Chief Conductor Andrew Manze had all three and served them up with vigour and a compelling freshness, giving Prommers at this eve-of-Last-Night concert an exciting and uplifting evening.

In conversation with Nina Brazier

When British opera director Nina Brazier tries to telephone me from Frankfurt, where she is in the middle of rehearsals for a revival of Florentine Klepper’s 2015 production of Martinů’s Julietta, she finds herself - to my embarrassment - ‘blocked’ by my telephone preference settings. The technical hitch is soon solved; but doors, in the UK and Europe, are certainly very much wide open for Nina, who has been described by The Observer as ‘one of Britain’s leading young directors of opera’.

Prom 69: Elena Stikhina’s auspicious UK debut in a dazzling Czech Philharmonic concert

Rarely can any singer have made such an unforgettable UK debut in just twelve minutes of music. That was unquestionably the case with the Russian soprano, Elena Stikhina, who in a performance of Tchaikovsky’s Letter Scene from Eugene Onegin, sang with such compelling stage magnetism and with a voice that has everything you could possibly want.

Prom 68: Wagner Abend - Christine Goerke overwhelms as Brünnhilde

Wagner Nights at the Proms were once enormously popular, especially on the programmes of Sir Henry Wood. They have become less so, perhaps because they are simply unfashionable today, but this one given by the Royal Philharmonic Orchestra and Marc Albrecht steered clear of the ‘bleeding chunk’ format which was usually the norm. It was still chunky, but in an almost linear, logical way and benefited hugely from being operatic (when we got to the Wagner) rather than predominantly orchestral.

2019 Wigmore Hall/Independent Opera International Song Competition

Russian bass-baritone Mikhail Timoshenko has won the top prize at the 2019 Wigmore Hall/Independent Opera International Song Competition.

An Englishman in Vienna: Stephen Storace

When his first opera, Gli sposi malcontenti, premiered at the Burgtheater in Vienna on 1st June 1985, the 23-year-old Stephen Storace must have been confident that his future fame and fortune were assured.

Stendhal on the Rossini Revolution

Some Details concerning the Revolution inaugurated by Rossini

Prom 65: Danae Kontora excels in Mozart and Strauss

On the page this looked rather a ‘pick-and-mix’ sort of Prom from the Deutsche Kammerphilharmonie Bremen under Greek conductor Constantinos Carydis, who was making his Proms debut. In the event, it was not so much a Chinese take-away as a Michelin-starred feast for musical gourmands.

British Youth Opera: Rossini's La Cenerentola

Stendhal (as recorded in his Life of Rossini) was not a fan of Rossini’s La Cenerentola, complaining that after the first few bars of the Introduzione he was already suffering from a ‘faint feeling of nausea’, a condition which ‘never entirely dissipated, [recurring] periodically throughout the opera, and with increasing violence’.

PUCCINI: Manon Lescaut

Manon Lescaut, dramma lirico in quattro atti

Louise Jeffreys to become Deputy Chair of ENO

English National Opera (ENO) is pleased to announce that Louise Jeffreys is to become Deputy Chair of English National Opera and the London Coliseum. She replaces Nicholas Allan. Louise is currently Artistic Director of the Barbican where she leads...

STRAUSS : Elektra

Elektra: Tragedy in one act.

La traviata at the Arena di Verona

There is esoteric opera — 16,500 spectators at this year’s Rossini Opera Festival in Pesaro, and there is pop opera — upwards of 500,000 spectators for the opera festival at the Arena di Verona, one quarter of them for an over-the-top new production of La traviata, designed and directed by Franco Zeffirelli.

Sir John Eliot Gardiner brings Benvenuto Cellini to the Proms

Berlioz' Benvenuto Cellini is quite rarity on UK stages. Covent Garden last performed it in 1976 and English National Opera performed it for the first time in 2014 (in Terry Gilliam's riotous production), and yet the opera never quite goes away either.

Prom 58: varied narratives from the BBCSSO and Ilan Volkov

There are many ways and means to tell a story: through prose, poetry, sounds, pictures, colours, movement.


OPERA TODAY ARCHIVES »

Reviews

Photo by Robert Shomler courtesy of Opera San Jose
16 Sep 2019

San Jose Pops the Cork With Fledermaus

Opera San Jose vivaciously kicked off its 2019–2020 season with a heady version of Strauss’ immortal Die Fledermaus that had all the effervescence of vintage champagne. »

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  |  117  |  118  |  119  |  120  |  121  |  122  |  123  |  124  |  125  |  126  |  127 
26 Jan 2006

PADEREWSKI: Manru

Known for his virtuosity as a pianist, Ignacy Paderewski (1860-1941) is also known as a composer. While most of his works involve piano, he left a single opera, Manru, a three-act work that he composed between 1892 and 1901. »

26 Jan 2006

SALLINEN: Barabbas Dialogues

Two of Finland’s greatest artistic luminaries—composer Aulis Sallinen (b. 1935) and poet Lassi Nummi (b. 1928)—came together to produce a fine new work, The Barabbas Dialogues (2004), which has been recently recorded and released on CD on the CPO label. »

25 Jan 2006

BRITTEN: Serenade for Tenor, Horn and Strings etc.

In an era where new studio recordings by major orchestras have dwindled to a pathetic dribble, leaving many fine institutions to start their own in-house labels, the Berlin Philharmonic still has an active contract with a major company (its conductor’s label of many years, EMI) and releases come on a regular basis. A recent one features some of Benjamin Britten’s great work for instruments and tenor. »

25 Jan 2006

Norma in Munich — Two Reviews

Bellini's Norma is the story of a love triangle involving Norma, the Druid high priestess, Pollione, the Roman proconsul and father of Norma's two children, and Adalgisa, a Druid acolyte and Pollione's new conquest whom he intends to take to Rome. The role of Norma is generally considered one of the most difficult in opera literature. Few have succeeded in mastering it. Now Edita Gruberova, has taken on the role at the Bayerische Staatsoper. Here are two reviews. »

25 Jan 2006

Mozart at Lincoln Center — Three Reviews

Earlier this week, Sir John Eliot Gardiner led the Orchestre Revolutionnaire et Romantique and the Monteverdi Choir in two immortal Mozart works: the C-minor Mass and the Requiem, followed by an evening of Mozart's orchestral works. Here are three reviews. »

24 Jan 2006

Violeta Urmana — Lieder

“Carmen, un bon conseil” warns Frasquita in the last act of the opera. So friends, heed my advice and don’t play this CD in your car when you are accompanied by someone who likes opera but is not crazy on lieder. »

24 Jan 2006

MERCADANTE: La vestale

It is now slightly over 40 years since the first recording of a complete opera by Saverio Mercadante (an Il Giuramento with Maria Vitale and Amedeo Berdini) was released on LP. I quickly fell in love with his music, and realized that, while not necessarily on the same level as Bellini and Donizetti, he was not far behind, and that more of his works would be extremely welcome. »

23 Jan 2006

KINDERMAN & SYER: A Companion to Wagner's Parsifal

Some twenty years ago, a leading German musicologist remarked that the music of Parsifal »

22 Jan 2006

BIZET: Carmen

On June 3, 1875, thirty-six year old Bizet died after having one, some say two, heart attacks preceded by other complications. Legend has it that the composer's death was hastened by the failure of his latest work, Carmen. »

19 Jan 2006

The Diva Live — Wilhelmenia Fernandez & Bruno Fontaine

In 1981 Wilhelminia Fernandez became somewhat of a cult figure when the French thriller “Diva” appeared on the screens. For a time her “Ebben, ne andro lontano” from La Wally almost became a hit and several commercials used a small part of the aria. »

19 Jan 2006

La Traviata, Royal Opera House, London — Three Reviews

This season the Royal Opera House has recreated "Richard Eyre's popular production of Verdi's La Traviata, which draws on striking period designs by Bob Crowley to amplify the tensions and confrontations that make Violetta's predicament so tragic and her portrayal so real." Here are three reviews: »

18 Jan 2006

GERSHWIN: Porgy and Bess

So EMI has declared this 1988 Porgy and Bess to be one of the “Great Recordings of the Century.” That may settle the issue for many – but not all. »

18 Jan 2006

A NICE COUP: VILLAZÓN in his first “WERTHER”

The French city of Nice has this past week been enjoying some wonderful weather and the aptly-named Cote d’Azur has truly lived up to its name. »

17 Jan 2006

IT MUST NOT HAVE BEEN EASY BEING MOZART

It must not have been an easy life, being Wolfgang Amadeus Mozart (1756-1791). Perhaps even more so after the fact when scholars began to do their research and “wanna bes” began their intimations and psychoanalyzing. In the more seventy-five years of Mozart scholarship and its coming of age, one must ask: How much more is there to learn, to research? »

16 Jan 2006

STRAUSS: Capriccio

It is not uncommon for opera on DVD to have credits for two directors. In the case of this Paris Capriccio, a new production from June 2004, the credits list Robert Carsen as the stage director and Francois Roussillon as directing for TV and video. »

16 Jan 2006

Trinity Sunday at Westminster Abbey

Under the direction of James O’Donnell since January 2000, the Choir of Westminster Abbey has cultivated a robust singing style that well serves the music of this new recording and continues the Abbey’s position as one of the obvious standard bearers of the English cathedral tradition. »

14 Jan 2006

Berlin Opera Night

At 73 minutes, this DVD of the typical gala affair – various soloists trot on, sing an aria, then trot off – can’t be called generous, but it does have variety. »

14 Jan 2006

MASSENET: Werther

When you and I were young Maggie, there was only the fine Werther with Thill and Vallin and the Cetra recording with Tagliavini and his first wife, Pia Tassinari. »

14 Jan 2006

SCHEIDT: Ludi musici I, II, III & IV

I suspect that when we survey the musical landscape of the early seventeenth century, it is opera, monody, and madrigal that come most quickly and lastingly into view, and given the contemporaneous attention given to the relationship between music and word, it is unsurprising that this would be the case. »

14 Jan 2006

CACCINI: Nuove musiche

When Giulio Caccini entitled his landmark 1601/02 publication Le nuove musiche, he confidently laid claim both to the novelty of the emerging baroque style and his formidable role in bringing it to blossom. »

14 Jan 2006

GASPAROV: Five Operas and a Symphony

This new volume from Yale University Press is one of those rare and treasured phenomena in Russian music scholarship that illuminate their subject from a new angle — that of cultural history. Indeed, Boris Gasparov's expressed goal in Five Operas and a Symphony is nothing less than turning the table on poetry, philosophy, and literary criticism that have for so long ruled the field of Slavic research, and elucidating them from a musical point of view. »

11 Jan 2006

VERDI: Macbeth

This Macbeth, originally conceived by Phyllida Lloyd for a co-production of the Paris Opéra and Covent Garden, is an excellent example of what nowadays is to be seen on most opera stages in Europe (and probably the States as well). »

11 Jan 2006

BELLINI: I Puritani

Through Rossini's influence Bellini and his rival Donizetti were each invited to compose an opera for the Théâtre des Italiens in Paris. Bellini who, paranoid and delusional, thought he was the object of a sinister plan headed by Rossini to benefit Donizetti, went out of his way to ingratiate himself with the "Great Master" long before Donizetti's arrival in the French capital. After a year of idle life in Paris, where he survived off the kindness of his hosts and friends, the Sicilian composer set to work on what would regretfully become his last opera: I Puritani di Scozia. »

09 Jan 2006

Renée Fleming and the Met Orchestra at Carnegie Hall — Two Reviews

On 8 January 2006, the Met Orchestra performed at Carnegie Hall with James Levine, Renée Fleming and Julien Robbins. »

08 Jan 2006

CILEA: L’Arlesiana

For a work that is known as a one-aria-opera, four official (this one included) recordings is not a bad record. And of course most opera-lovers have not only “E la solita storia” in their many tenor recitals but know the baritone aria “Come due tizzi” and the mezzo’s “Esser madre è un inferno” as well. »

08 Jan 2006

Operatunity Winners — Denise Leigh and Jane Gilchrist

When asked if I had any interest in reviewing the discs of “the Operatunity finalists,” I admit I was so ignorant of what Operatunity was that I had to make a quick web search to find out. »

06 Jan 2006

Dvořák und seine Zeit

Dvořák und seine Zeit – Dvořák and his Time – immediately conveys a singular perspective on some of the vocal music of Antonín Dvořák (1841-1904) in the context of his generation. Recorded on 17 August 2004, the music on this two-CD set is from the second of two programs that were given at the 2004 Salzburg Festspiel under the rubric of “Dvořák und seine Zeit.” »

06 Jan 2006

Natalie Dessay: Mozart Concert Arias

I wonder how Natalie Dessay would comment on this CD made more than 10 years ago when she was barely thirty? The lady is a dream for every interviewer. »

06 Jan 2006

BELLINI: La Sonnambula

What to do, what to do, with Bellini and Romani’s bel canto masterpiece, La Sonnambula? The exquisite music demands to be performed, so the opera continues to have an existence on the fringes of the standard repertory. »

06 Jan 2006

Ablaberdyeva/Korobeinikov at Wigmore Hall, London — Four Reviews

On 28 December 2005, soprano Alla Ablaberdyeva and pianist Andrei Korobeinikov presented a program of songs by Rachmaninov, Britten and Shostakovich. Here are four reviews. »

04 Jan 2006

Régine Crespin: Wagner and Berlioz Opera Arias

For those who want to possess every single TV appearance of Régine Crespin, this issue will not suffice. Only four items of the EMI DVD devoted to the soprano are to be found on the short DVD that is included with this CD. »

04 Jan 2006

CATALANI: La Falce

Although nothing is mentioned on the cover of the CD, I think this is the first official recording of the opera even if there are some pirates doing the rounds of the collectors (my copy is a Buenos Aires pirate). So this is not an unimportant issue of Catalani’s first opera. »

04 Jan 2006

L'Elisir d'Amore at the Met — Three Reviews

The Metropolitan Opera presented Donizetti's L'Elisir d'Amore (The Elixir of Love), which "tells of the peasant Nemorino who decides to take some magic elixir sold to him by a quack doctor, so that he can win the heart of a wealthy land-owner, who (to spite Nemorino) has announced her marriage to a sergeant." Here are three reviews: »

03 Jan 2006

Jonathan Lemalu: Love Blows as the Wind Blows

If one should believe British critics, especially English ones, Jonathan Lemalu is a major new bass; one of the greatest talents around whose qualities are widely proven by the fact this is already his third solo CD in a short time. »

02 Jan 2006

BRUCH: Das Lied von der Glocke

A century or so past, those simpler times without the internet, Desperate Housewives, and back-to-back sports and other activities that desperate parents feel they have to chauffeur their children to so they’ll be able to get into the higher levels of student loan debt, Americans joined choral societies and regularly presented well-known oratorios and cantatas: Elijah, The Seasons, maybe Christ on the Mount of Olives if they were really adventurous. »

02 Jan 2006

WEBER: Der Freischütz

This 1959 recording is one where the whole is bigger and better than the separate parts. It is the German equivalent to the Cetra recordings of the fifties. Those were maybe not the greatest recording of an opera but one felt that everybody was steeped in the Italian tradition. The same is happening here. »