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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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23 May 2005

Die Zauberflöte at Glyndebourne

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth. »

22 May 2005

I Masnadieri at Liège, 21 May 2005

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers. »

22 May 2005

G&S at Opera Australia

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.” »

21 May 2005

Don Giovanni at Marseille

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about. »

21 May 2005

GOEHRING: Three modes of perception in Mozart — the philosophical, pastoral, and comic in Così fan tutte

According to the book jacket, this is the first major scholarly study of Così fan tutte, considered to be one of Mozart's least-understood operas and librettist Lorenzo Da Ponte's most interesting text.  »

20 May 2005

TRIBO: Annals 1847-1897 del Gran Teatre del Liceu

The importance of the Teatre del Liceu, can not be overstated. The house ranks with all the leading theatres of the world, being right up there with Paris, London, New York, Vienna, Madrid, Rome, Milan, Lisbon, St. Petersburg, Moscow, Turin, Naples, Buenos Aires, and other cities of comparable importance. During its long history (158 years at the time of writing) it featured many of the great singers. These include Caruso, Battistini, Tamagno, Ruffo, Caballe, Tebaldi, Mario, Pavarotti, Vignas, Lazaro, O'Sullivan, Stracciari, Pagliughi, Gayarre, Masini, Stagno, Lauri-Volpi, Bellincioni, and countless others. Quite a few of these who sang there before 1897 are represented on the accompanying disc. »

20 May 2005

MAY: Decoding Wagner — An Invitation to His World of Music Drama

Thomas May's stated goal in Decoding Wagner is indeed summarized in his subtitle, An Invitation to His Music Dramas. Mr. May offers an introduction to those who may seek a reliable yet succinct guide in their first Wagnerian experience; a further potential readership is seen among those who have attended performances of Wagner but who wish to expand their appreciation of the music dramas. In his chronological overview of Wagner's oeuvre from the mid-1830s until the close of his career May presents an approachable guide to appreciating the composer's operatic genius. As an illustration of May's commentary on the works, a generous selection of Wagner's music is included on two Discs that accompany the volume in a protective sleeve. »

20 May 2005

FAURÉ: The Complete Songs - 1 — Au bord de l’eau

The songs of Gabriel Fauré (1845-1924) are some of the finest works examples of the genre and they represent the mature French mélodie in the hands of a composer who knew both the voice and the piano quite well. This release is the first of four discs that include all of Fauré’s songs for voice and piano within Hyperion’s series of French Song editions. Like those other collections from Hyperion, this volume of the Fauré set involves excellent performers who know the literature well. »

20 May 2005

Susan Graham in Paris

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…» »

19 May 2005

Paul McCreesh Directs Bach's B Minor Mass

Paul McCreesh’s approach to Bach’s last major choral work is about as far removed as possible from traditional heavyweight performances of the B minor Mass, and distinctly different from the approach of many of his period-instrument peers as well. For this superbly energised account, the Gabrieli Consort consisted of just 10 singers, divided equally into a ripieno, which provided the soloists, and a consort, which joined in for the large-scale numbers. The orchestra was just over twice that size. This minimalist approach produced gains in equality between voices and orchestras, and marvellous clarity in the contrapuntal writing. It also enabled McCreesh to adopt tempi that would have had a larger choir tied in knots. »

19 May 2005

Der Ring at the Mariinsky

Hot on the heels of their marathon appearance at the Moscow Easter Festival, the artistic forces of St. Petersburg’s Mariinsky Theater are preparing for a return visit to Moscow. Starting Monday, they take to the main stage of the Bolshoi Theater with three evenings of ballet and a complete performance of Richard Wagner’s four-part operatic cycle “The Ring of the Nibelung.” »

19 May 2005

Britten's A Midsummer Night's Dream at COT

At first glance, Shakespeare’s “A Midsummer Night’s Dream’’ is a frothy tale, a story of youthful romance going charmingly awry. True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne’er did run smooth, and Shakespeare’s beleaguered lovers triumph in the end. »

18 May 2005

Sarah Connolly at Weill Hall

On Monday night at Weill Recital Hall—the lovely space upstairs at Carnegie—Sarah Connolly gave us one of the most satisfying events of the season. The English mezzo-soprano sang a diverse recital, offering Haydn, Brahms, Hahn, Korngold, and Weill (Weill at Weill!). This followed her debut at the Metropolitan Opera, as Annio in Mozart’s “Clemenza di Tito.” All in all, Ms. Connolly put in a very good month’s work in New York. »

18 May 2005

Lucio Silla at Wiener Festwochen

Nelle sue ultime dichiarazioni il nuovo sovrintendente della Scala Lissner ha spesso accennato, senza fare nomi, a cinque direttori d’orchestra, da lui ritenuti i migliori del mondo. Non siamo in grado di dire se Harnoncourt faccia parte di questa rosa, ma non esiteremmo ad affermare che nell’ambito dell’opera mozartiana il direttore austriaco abbia introdotto nuovi canoni interpretativi. Tra palco e buca, infatti, l’intesa è simbiosi. Il Concentus Musicus ha dimostrato di essere non solo ottimo complesso strumentale, ma anche eccelso apparato operistico. Harnoncourt dirige l’orchestra ascoltando le voci, senza mai coprirle, anzi assecondandone le virtù e sfocandone le debolezze, in un alternare continuo di livelli dinamici e sfumature timbriche. Tre ore e mezza di musica che non conoscono cali di tensione. »

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. »