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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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27 Feb 2005

Rossini's La Cenerentola in Milwaukee

Vivica Genaux hasn’t been singing long enough for the whole world to recognize it, but she is one of the greatest singers of our day. Genaux returned Friday to the Florentine Opera, to sing the title role in Rossini’s “La Cenerentola.” Her voice was huge, and as dark and rich as a profound red wine. Rarely do voices with such weight come to roles such as this, which are loaded with quick, tricky ornaments and aerobatic coloratura tangents. For all its power, Genaux’s singing seems effortless, and her voice is incredibly agile. She articulated every note with utter clarity and accuracy, even in the fastest runs and at the extremes of her range. »

27 Feb 2005

Chicago Opera Theater to Present Handel's La Resurrezione

From an artistic standpoint, Chicago Opera Theater’s inaugural season last year in the new Harris Theater for Music and Dance in Millennium Park couldn’t have been more successful. Productions of Monteverdi’s “The Coronation of Poppea,’’ the haunting Chicago staged premiere of Benjamin Britten’s “Death in Venice’’ and a version of Rossini’s whimsical “Il viaggio a Reims’’ set in the American Wild West were outstanding on both musical and theatrical levels. »

27 Feb 2005

Fledermaus at Opera Australia

This is the triumph of style over content certainly, but in Fledermaus everything triumphs over content. The director, Lindy Hume, with designers Richard Roberts and Angus Strathie, has transposed 19th-century Austro-Hungarian imperial decadence onto 20th-century American imperial decadence, marrying brash New York energy with creaking Viennese charm. »

26 Feb 2005

Salome at the Semperoper

Sie inszenieren die sechste „Salome“ seit der Dresdner Uraufführung 1905 – empfanden Sie die Tradition des Stücks als Last? Da ich die Oper zum ersten Mal anfasse, dominierte die Lust. Eigentlich habe ich ja für „Salome“ Regie-Verbot, welches mir Mitte der 70er Jahre die Strauss-Erben aussprachen. Seinerzeit hatte ich vor Gericht mit der Frankfurter Oper um Urheberrechte an einer Inszenierung von Wagners „Götterdämmerung“ gestritten – und den Prozess gewonnen. Aufgehoben ist das Verbot nicht. Die Erben haben aber auch nicht interveniert. »

26 Feb 2005

Thomas Hampson in Vienna

Kurzweilig und mit pointierten persönlichen Anmerkungen verfeinert eröffnete Bariton Thomas Hampson seinen vierteiligen Amerika-Zyklus: Er ließ das Publikum im Neuen Saal an seiner Spurensuche nach dem “amerikanischen Lied” teilhaben, zog verbindende Fäden von der Alten in die Neue Welt. So sprach etwa der Mahler-Zeitgenosse Edward MacDowell fließend deutsch und wurde von Franz Liszt hoch geschätzt. Seine wonnig-traurige Seefahrer- “Ballade” brachte Hampson dann im Großen Saal darstellerisch raffiniert zur Geltung. Auch Charles Griffes (1884-1920) europäische Wurzeln – er war mit Engelbert Humperdinck befreundet – wurden nachvollziehbar, so in “Des Müden Abendlied”. »

26 Feb 2005

John Blow's Venus & Adonis at the Wiener Kammeroper

“Master of the famous Mr. H. Purcell”: Die Gedenktafel in der Westminster Abbey zeigt deutlich, dass John Blow, geboren 1649, schon für Zeitgenossen ein wenig im Schatten seines um zehn Jahre jüngeren Kollegen im Hofdienst und mutmaßlichen Schülers Henry Purcell stand. Dabei war Blows Karriere als Organist, Komponist und Chorleiter vielfältig und verantwortungsvoll. 1683 schrieb er “Venus und Adonis”, eine “Masque for the entertainment of the King”. Eine Oper im Taschenformat sozusagen, aus der Tradition des höfischen Maskenspiels emporgewachsen zum musikdramatischen Meisterwerk – nur mehr ein Schritt trennt es von Purcells “Dido and Aeneas” (1689). »

25 Feb 2005

BYRD: Consort Songs

This CD collaboration between the early music viol ensemble Fretwork and vocalist Emma Kirkby is devoted to songs of William Byrd composed in the vernacular to be sung with string accompaniment; interspersed with these is a selection of short instrumental pieces in various genres. As a composer whose work was associated especially with the English Catholics, many of Byrd’s compositions from the last quarter of the sixteenth century were based on sacred Latin texts. The less familiar English consort songs chosen for this recording represent a mix of both secular and religious themes. Topics in the song texts include the constancy of Penelope, the narrative of a pet dog who meets an unexpected end, an elegy on Sir Philip Sidney, and the execution of Mary Stuart as bound up with the vicissitudes of Fortune in this world. This selection is further balanced by vernacular songs of an overtly religious character focusing on topics such as the vanity of earthly pleasure and possessions, the Nativity, and a lengthy prayer for divine grace. Finally, some of the song texts draw on a thematic complex of both sacred and profane. »

25 Feb 2005

New York Throws a Party for Handel

Through a felicitous quirk of its touring schedule, Nicholas McGegan and his period instrument ensemble, the Philharmonia Baroque Orchestra, performed a program devoted mostly to music by Handel on Wednesday evening, the 320th anniversary of Handel’s birth. »

25 Feb 2005

Le Nozze di Figaro at the Met

In 1998, New York’s Metropolitan Opera staged a new production of Le Nozze di Figaro with a glorious cast that included Bryn Terfel as Figaro and Cecilia Bartoli as Susanna. The recent revival employed singers who are less well known, but it none the less came close to being a perfect night at the opera. »

25 Feb 2005

Bach's B-Minor Mass at the Musikverein

Die heutzutage gern gepflegte Diskussion über die Frage “Darf man Bach auf ,modernem’ Instrumentarium aufführen?” ist dümmlich. Dass sie überhaupt geführt wird, beweist nur, wie wenig adäquate Bach-Aufführungen es heutzutage gibt. Wer die von Franz Welser-Möst geleitete Wiedergabe der Hohen Messe im Musikverein hörte, hat sich garantiert keinen Augenblick lang mit solchen Lappalien beschäftigt. Er hatte keine Zeit, denn da wurde Musik gemacht, auf jenem Niveau, mit jener Dringlichkeit, die von Takt zu Takt signalisiert, welche inneren wie äußeren Höhenflüge des Geistes sich in dieser Partitur vereinigen. »

24 Feb 2005

Schubert's Die schöne Müllerin at Wigmore Hall

A decade ago, Ian Bostridge’s recording of Schubert’s Die Schöne Müllerin, with Graham Johnson, played a major part in boosting his nascent career. These days, though, the tenor is more often found collaborating with pianists who are soloists in their own right. His second recording of the song cycle has seen him developing a partnership with Mitsuko Uchida – and it might be his most fruitful so far. »

24 Feb 2005

Tan Dun's Water Passion at Perth

IN pursuing its theme of transcendence, the Perth Festival has brokered some imaginative collaborations, such as the Tura New Music concert at the Art Gallery of WA, featuring Morton Feldman’s music inspired by the paintings at the Rothko Chapel in Houston, Texas. . . . »

24 Feb 2005

A Bad Day at the Staatsoper

The apes have landed. The Duke of Mantua is a gorilla. Monterone is an orang utan, surrounded by hairy baboons. The cult film director Doris Dörrie is monkeying with Verdi’s Rigoletto at the Bavarian State Opera. »

24 Feb 2005

A Full House at Royal Albert Hall

It is strange how easily Raymond Gubbay manages to fill the Royal Albert Hall for opera, when less than a year ago his Savoy Opera company collapsed because he could not sell enough seats in a theatre a fraction of the size. How irrelevant that ill-starred venture and its demise seem now. »

23 Feb 2005

Samson et Dalila at the Met

Though a sizable contingent of opera connoisseurs and critics have long considered Saint-Saëns’ “Samson et Dalila” a musically tepid melodrama, this 1877 opera has been an enduring favorite with audiences. It’s not hard to understand why. »

23 Feb 2005

Verdi's Requiem Tours France

A qui s’adresse le compositeur d’un Requiem ? Au défunt, que sa musique doit accompagner dans une ultime transcendance, ou à la communauté endeuillée, qui se voit ainsi rappeler son état de mortel ? Dans le cas de Verdi, agnostique déclaré mais chantre du sacré à l’opéra, la réponse ne fait aucun doute. La Messa da Requiem, créée en 1874 à la mémoire du compositeur Rossini et de l’écrivain Manzoni, est destinée à tout être humain sensible au pouvoir des sons. »

23 Feb 2005

The Controversy Continues in Munich

Eine groß angelegte, staatstheaternde Rettungsaktion sollte es sein. Und dass Doris Dörrie jene Verweigerer, die Oper doof statt dufte finden, an die Hand nehmen will, um sie heim in die Hochkultur zu holen, ist ja prinzipiell in Ordnung. Dabei pflegt die Filmregisseurin nur zu gern mit ihrem Nichtwissen in Sachen Musiktheater zu kokettieren, um augenzwinkernd nach Kumpanen zu suchen: Oper, die mischen wir mal so richtig zeitgeistig auf. »

23 Feb 2005

Aida in Philadelphia

Like picking a growth stock, the Opera Company of Philadelphia showed shrewd judgment by engaging sopranos (for two of its four 2004/05 productions) who promptly became media darlings. »

22 Feb 2005

CAVALLI: Arias and Duets from 5 operas

Some years ago, those of us who are aficionados of pre-1750 repertory – and all the more so, those of us who are privileged to be able to teach it – were happy to have any recording of the music we hold so dear. We were happy to excuse wooden-ness or sloppiness of performance because, well, some idea of the sound of pre-Classical repertories was better than none at all. Over the last couple of decades, with the proliferation of phenomenal performers and ensembles who specialize in early music, this resignation faded: we now are spoiled by having our choice of many polished performances, and the privilege of comparing their relative merits. »

22 Feb 2005

Poppea in Zurich

The early music movement has come a long way since the 1970s. Or has it? Zurich Opera’s new L’incoronazione di Poppea invites comparisons. This opera house’s Monteverdi cycle three decades ago changed the way the world thought about the composer. Now it’s time for the remake. Same conductor, different directors. Klaus-Michael Grüber staged a spare, emotional Il ritorno d’Ulisse in patria three years ago. For Poppea, it’s Jürgen Flimm’s turn. »

22 Feb 2005

Rigoletto in Munich

München – Idee ungewöhnlich, Experiment gescheitert: Unter dieser Kurzformel könnte man Doris Dörries erste und von großem Medieninteresse begleitete Münchner Opern-Inszenierung zusammenfassen. Giuseppe Verdis 1851 in Venedig uraufgeführten Opernklassiker «Rigoletto» auf dem «Planeten der Affen» anzusiedeln, diese Vorstellung fand bei der Premiere im Münchner Nationaltheater wenig Freunde. »

22 Feb 2005

Prokofiev's Love for Three Oranges in Linz

Es ist eine der kürzesten Sterbesze nen der Operngeschichte: Ein schnoddrig verkündetes Todesur teil, jemand wuselt mit einem Strick herum, dann ist die intrigante Königs-Nichte auch schon tot. In Prokofieffs Märchen-Oper “Die Liebe zu den drei Orangen” wird schnell gestorben: Auch die den ersten beiden Zitrus-Früchten entsprungenen Prinzessinnen verdursten rasch, wenn auch klagend – eines der Details, mit denen sich der Komponist/Librettist Prokofieff vom Verismo abgrenzt. Keine naturalistische Darstellung, keine opulent auskomponierten Szenen voller Gefühlsüberschwang; statt dessen: Märchen und absurdes Theater, kurze Sequenzen, die einander fast überholen. »

22 Feb 2005

Massenet's Werther at the Wiener Staatsoper

Zuweilen begnügt man sich auch mit Details. Wenn das Ganze so gar nicht stimmen mag, gelingt es viel leicht dem einen oder anderen der beteiligten Künstler sozusagen gegen den Strom schwimmend, eine herausragende Leistung zu modellieren. Im Falle der “Werther”-Premiere darf Elina Garanca das künstlerische Freischärlertum für sich in Anspruch nehmen. Sie sollte die Charlotte singen, wurde von Regisseur Andrei Serban jedoch gezwungen, eine Art Grace-Kelly-Parodie abzuliefern, denn das Stück spielt von Inszenierungs-Gnaden in den fünfziger Jahren des 20. Jahrhunderts. »