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Elsewhere

Cooperstown and the Hood

Glimmerglass Festival continues its string of world premiere youth operas with a wholly enchanting production of Ben Moore and Kelly Rourke’s Robin Hood.

Glimmerglass Oklahoma: Yeow!

Director Molly Smith knew just how to best succeed at staging the evergreen classic Oklahoma! for Glimmerglass Festival.

An Invitation to Travel: Christiane Karg and Malcolm Martineau at the Proms

German soprano Christiane Karg invited us to accompany her on a journey during this lunchtime chamber music Prom at Cadogan Hall as she followed the voyages of French composers in Europe and beyond, and their return home.

Schoenberg's Gurrelieder at the Proms - Sir Simon Rattle

Prom 46: Schoenberg's Gurrelieder with Simon Rattle and the London Symphony Orchestra, Simon O'Neill, Eva-Maria Westbroek, Karen Cargill, Peter Hoare, Christopher Purves and Thomas Quasthoff. And three wonderful choirs - the CBSO Chorus, the London Symphony Chorus and Orfeó Català from Barcelona, with Chorus Master Simon Halsey, Rattle's close associate for 35 years.

Le Siège de Corinthe in Pesaro

That of Rossini (in French) and that of Lord Byron (in English, Russian, Italian and Spanish), the battles of both Negroponte (1470) and of Missolonghi (1826) re-enacted amidst massive piles of plastic water bottles (thousands of them) that collapsed onto the heroine at Mahomet II's destruction of Corinth.

Dunedin Consort perform Bach's St John Passion at the Proms

John Butt and the Dunedin Consort's 2012 recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service.

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.


OPERA TODAY ARCHIVES »

Reviews

Francesca Zambello, Glimmerglass Festival Artistic & General Director
22 Aug 2017

Cooperstown and the Hood

Glimmerglass Festival continues its string of world premiere youth operas with a wholly enchanting production of Ben Moore and Kelly Rourke’s Robin Hood. »

Recently in Reviews

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28 Mar 2005

WEAVER & PUCCINI: The Puccini Companion

If any opera lover feels daunted by the many biographies and analytical tomes dedicated to the life and art of Giacomo Puccini, Norton has done that reader a tremendous favor with the publication of The Puccini Companion. Tightly organized, this series of essays details the life, discusses the operas, and provides a wealth of supplementary information about the composer. »

28 Mar 2005

SALAZAR: Vísperas Completas de Nuestra Señora

Sacred music from the Spanish Baroque deserves to be held up next to the finest Italian examples of the same period. Equally celebratory in nature, the music written for use in Catholic Vespers services on this recording is an example of the mixed concertante style developed in Venice. While not as monumental as Claudio Monteverdi’s conglomerate Vespers of 1610, the Vísperas Completas de Nuestra Señora by Juan Garcia de Salazar (1639-1710) contrasts polyphonic and homophonic choruses with plainchant, monody, instrumental pieces, and organ improvisation. »

28 Mar 2005

BACH: St. John's Passion

The explosion of research into the music of J. S. Bach allows for innumerable interpretations of his works. Scholars meticulously study the musical source material, letters and writings from the 17th and 18th centuries, and anything else that could possibly lead to an insight into Bach’s musical practice. Invariably, each interpreter achieves new conclusions and raises new questions forming their own distinctive ideal. In the last decade and a half, the dialogue over Bach’s choral music has been particularly active and fierce with proponents of massive romantic proportions and those who prefer single singers and instrumentalists on a part. »

28 Mar 2005

Krassimira Stoyanova at the Rousse Festival

Her occasional home-coming always turns into a music event in her native Bulgaria. This time Krassimira Stoyanova appeared at the Rousse March Music days in a recital including twenty melodies and songs by opera composers: Gounod, Donizetti, Puccini in the first part and Tchaikovsky and Rahmaninov in the second plus two “encores” by Bulgarian composers Dobri Hristov and Liubomir Pipkov. She performed this same recital at Carnegie Hall on January 18, 2005, accompanied by Yelena Kurdina. »

28 Mar 2005

Chicago's Ring

Ringheads, rejoice! The end of the world is nigh. So, for that matter, are the flying Valkyries, swimming Rhinemaidens, spinning Norns, fearless heroes, empowered heroines and all the other mythic characters that make Richard Wagner’s “Der Ring des Nibelungen” (“The Ring of the Nibelung”) the greatest, most monumental fairy tale ever composed. »

28 Mar 2005

Offenbach's Whittington

Here is a splendid curiosity – a three-act operetta by Offenbach, written as the 1874 Christmas panto blockbuster for the famous Alhambra Theatre in Leicester Square and never subsequently staged in its original form. All credit to the tirelessly exploratory semi-professional University College Opera for its worthwhile revival. »

28 Mar 2005

Mozart's C Minor Mass Reconstructed

“Die spart (Partitur, Anm.) von der hälfte einer Messe, welche noch in der besten hoffnung da liegt”, erwähnt Mozart 1783 in einem Brief an seinen Vater. Bei der Hoffnung sollte es bleiben: Sein rätselhaftes Gelöbnis, die c-Moll-Messe zu vollenden, hat Mozart nicht gehalten. Das ehrgeizige Projekt einer umfangreichen Kantatenmesse im Stile von Bachs Schwesterwerk in h-Moll blieb ein Torso. Nur Kyrie, Gloria, Sanctus und Benedictus hat Mozart abgeschlossen, nicht alles davon ist jedoch in zweifelsfreier Form erhalten. Vom zentralen Credo existieren gar nur zwei Sätze, noch dazu voller offensichtlicher Instrumentationslücken. »

26 Mar 2005

Surprises at Wigmore Hall

Susan Bullock is widely regarded as the finest dramatic soprano to have emerged in the UK for some years. She is an exceptional Wagnerian and many would question why she is not singing Brünnhilde in one of the Rings-in-progress at Covent Garden or English National Opera, particularly since she is already established as an interpreter of the role abroad. »

26 Mar 2005

Leaving the "Audience Clamoring for More"

Handel had his troubles with sopranos as people. There’s a story that he once grew so enraged he tried to throw one of his divas out the window. On the other hand, no composer has written more knowledgeably and lovingly for the soprano voice than Handel did. »

26 Mar 2005

Rape of Lucretia

NO BETTER time than Easter to plead the cause of Benjamin Britten’s chamber opera. Forged in the same white fire of creative energy as Peter Grimes, Lucretia can remain problematic because of the apparent moralising of the framing Chorus. But watching this play of passion in a week of Passions certainly put things into context. »

26 Mar 2005

A Delicate Drama at Merkin Hall

When opera singers reach a certain level of fame and stature, they almost invariably express the desire to present song recitals as well. Often the problem is that they have little training in this specialized art and too much practice in their own stylistic niche. As a result, many highly publicized evenings at Carnegie or Alice Tully turn out to be woeful disappointments, proving only the lack of adaptability of many of our best singers. »

25 Mar 2005

Handel's Sosarme at Theater St. Gallen

Mit noblem Herrschergestus rückt der feine junge Herr im weissen Anzug fürs Schlusstableau die Opernwirklichkeit zurecht. Unvermittelt angeschmachtet von der Liebsten und scheinbar ohne Rücksicht auf den eben ausgefochtenen tragischen Höhepunkt des Familienzwists, von dem hier im Heldenton einer Opera Seria drei Stunden lang die Rede war, darf Fernando alias Sosarme die Totgeglaubten wieder aufrichten und dann, ganz cleverer Familientherapeut, die Sache mit einer zeitgeistigen Aufstellung zu Ende bringen. »

24 Mar 2005

Leontyne Price & Samuel Barber: Historic Performances (1938 - 1953)

Among the leading figures in music in twentieth-century America, the composer Samuel Barber and the soprano Leontyne Price are notable for various reasons, not the least of which is the fact that they worked together at various times. »

24 Mar 2005

Parsifal Gets Poor Reception in Berlin

A controversial new production of Wagner’s “punk” Parsifal, by Bernd Eichinger, film-maker and writer of Downfall, provoked outrage when it was premiered in Berlin last Saturday. Here he defends his production. A lot of critics complained that it was staged too close to the orchestra. But that is not a failure – that is exactly what I wanted to do. In a Wagner opera, you have to understand that there are more than 100 musicians; it is a big orchestra, big music. In order that the singers can really be appreciated you have to bring the action forward, closer to the audience. If you put them too far away in the distance of the stage you hear less. »

24 Mar 2005

Der Rosenkavalier at the Met

The Marschallin in Der Rosenkavalier is supposed to be no older than 32 – sensitive, sensual and emphatically sensible. Richard Strauss told us so. She is seldom played that way. Over the decades, the role has become the specialty of well-upholstered divas of a certain age who stress regal pathos at the expense of erotic allure. It wasn’t like that, however, on Friday at the Met, where Angela Denoke basked in revisionist revelation. »

23 Mar 2005

Orlando Furioso at New York City Opera

Handel’s opera “Orlando” is a seductive broadside against love, and New York City Opera’s new production makes this distaste for romance seem irresistible for a while. When the titular knight goes soft, the magician Zoroastro intervenes to warn him away from the vagaries of passion. Better, he counsels, to stick to such sensible, manly stuff as vengeance, mayhem and murder: Make war, not love. »

23 Mar 2005

Madama Butterfly at Covent Garden

IT’S STRANGE that such a basically fine performance can leave so many question marks, but that is perhaps the peculiarity of Madama Butterfly. Puccini’s shabby little shogun shocker contains some of the composer’s greatest music, yet it is put to such shallow, manipulative ends that anyone who likes their opera to be more than a high-class musical is likely to come away feeling unsatisfied. At least the Royal Opera’s latest revival is musically rewarding, and boasts one of today’s leading interpreters of the title role, but the picture-book production shows little willingness to tackle the problem. »

23 Mar 2005

Tosca at the Met

To this day, many sophisticated music lovers dismiss Puccini as a panderer or even a hack. But his supreme craftsmanship is the best refutation of this position. So dedicated was he to creating just the right effect for “Tosca” that he came before dawn one morning to the Castel Sant’Angelo in Rome and faithfully recorded the actual pitches of all of the church bells that can be heard there throughout the early hours, including those of the Basilica of Saint Peter’s. »

22 Mar 2005

A Symphony for Hans Christian Andersen

The words of Symphonic Fairytales are not by a musician, but by one of the 19th century’s most extraordinary writers: Hans Christian Andersen. The Danish fairy-tale author’s bicentenary falls on 2 April this year and a worldwide project is under way to celebrate him in music. Ten Danish composers have been commissioned to write pieces based on his stories; as part of this, the City of Birmingham Symphony Orchestra (CBSO), Chorus and Youth Chorus has achieved quite a coup with a new work from Per Norgard, Denmark’s musical éminence grise, which they will premiere on Andersen’s birthday at Symphony Hall. »

22 Mar 2005

Handel's Ezio at the London Handel Festival

THE curtain rises on Black-adder-land — epicene monarch, black-clad baddie, hooped ladies and preening hero — and you think, hmm, three hours of trying to turn opera seria into comedy could be a bit wearing. Worst fears aren’t entirely realised, but if you don’t trust Handel to hold an audience with a serious exploration of relationship and motivation, why bother? The London Handel Festival has brought us some notable rarities from among the man’s operas, and this one too has seldom been seen; but if the performance falls short, it’s not because the piece is rubbish. »

22 Mar 2005

Peter Grimes in Salzburg

Salzburg zur Osterzeit steht heuer ganz im Zeichen Benjamin Brittens. Nun ist “Peter Grimes”, die Festspiel oper Anno 2005, auch schon 60 Jahre alt, aber von einer Verankerung im internationalen Repertoire kann, wenn überhaupt, erst in allerjüngster Zeit die Rede sein. Jetzt, da das Stück von der Tragödie des Individuums in der Zeit der Vermassung aktueller denn je scheint, setzen es die meisten großen Häuser auf den Spielplan. Zeit also, bei einem Festival ein mustergültige Produktion zu präsentieren, scheint das Kalkül Simon Rattles gewesen zu sein, der damit den Festspielgedanken so unzeitgemäß wie richtig interpretiert. Zumindest in der Theorie. Man muss vielleicht ein bisschen weiter ausholen, um zu definieren, warum eine Inszenierung, wie sie Trevor Nunn im großen Festspielhaus vorgestellt hat, in diesem Fall ein wenig zu kurz greift. »

22 Mar 2005

Orpheus Chamber Orchestra Performs Pergolesi and Rossi

As a seasonal concert, with a mildly ecumenical touch, the Orpheus Chamber Orchestra played a concert of sacred music in the Medieval Sculpture Hall at the Metropolitan Museum of Art on Sunday evening (with a repeat tonight). The principal offering was Pergolesi’s dramatic, deeply emotional setting of the Stabat Mater. It was preceded by string arrangements of six pieces by Salamone Rossi, a Jewish composer who worked in Mantua, Italy, around the same time as Monteverdi, and wrote Hebrew Psalm and prayer settings in a lively madrigal style. »

22 Mar 2005

Rossini's Il turco in Italia in Hamburg

“Es werde Lichter”, sprach der Libretto-Dichter und ließ die Buffa-Puppen tanzen. Keine Charakter, sondern Typen, irgendwie geboren im ganz normalen Uraufführungswahnsinn italienischer Opernhäuser im frühen 19. Jahrhundert; fest am Faden hängend und ganz nach Bedarf herumgeschoben von ihren Schöpfern. Dieser Poeta in Gioachino Rossinis “Türke in Italien”, der sich und seine Erfindungsnöte vorlaut zum Thema einer komischen Oper macht, ist ein ziemlich einmaliger Fall. Und deshalb immer öfter ein gefundenen Fressen als Alter Ergo für seine Regisseure. »