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Elsewhere

Glyndebourne’s first production of Dialogues des Carmélites to open Glyndebourne Festival 2020

Glyndebourne’s first production of Poulenc’s Dialogues des Carmélites will open Glyndebourne Festival 2020, it was announced today. The opera house unveiled its 2020 plans at an event in its recently built Production Hub, hosted by Glyndebourne’s new senior leadership team, Artistic Director Stephen Langridge and Managing Director Sarah Hopwood, who jointly replace the former position of General Director.

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Garsington Opera Announces 2020 season and 2019 Paris Performance

Garsington Opera is delighted to announce the 2020 season that will open on 28 May, featuring three new productions - Verdi’s Un giorno di regno, Mozart’s Mitridate, re di Ponto, Dvořák’s Rusalka and a revival of John Cox’s legendary production of Beethoven’s Fidelio.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

David McVicar's Andrea Chénier returns to Covent Garden

Is Umberto’s Giordano’s Andrea Chenier a verismo opera? Certainly, he is often grouped with Mascagni, Cilea, Leoncavallo and Puccini as a representative of this ‘school’. And, the composer described his 1876 opera as a dramma de ambiente storico.

Glyndebourne presents Richard Jones's new staging of La damnation de Faust

Oratorio? Opera? Cantata? A debate about the genre to which Berlioz’s ‘dramatic legend’, La damnation de Faust, should be assigned could never be ‘resolved’.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Hampstead Garden Opera presents Partenope-on-sea

“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.

Henze's Phaedra: Linbury Theatre, ROH

A song of love and death, loss and renewal. Opera was born from the ambition of Renaissance humanists to recreate the oratorical and cathartic power of Greek tragedy, so it is no surprise that Greek myths have captivated composers of opera, past and present, offering as they do an opportunity to engage with the essential human questions in contexts removed from both the sacred and the mundane.

Un ballo in maschera at Investec Opera Holland Park: in conversation with Alison Langer

“Sop. Page, attendant on the King.” So, reads a typical character description of the loyal page Oscar, whose actions, in Verdi’s Un ballo in maschera, unintentionally lead to his monarch’s death. He reveals the costume that King Gustavo is wearing at the masked ball, thus enabling the monarch’s secretary, Anckarstroem, to shoot him. The dying King falls into the faithful Oscar’s arms.

Martin Duncan directs the first UK staging of Offenbach's Fantasio at Garsington

A mournful Princess forced by her father into an arranged marriage. A Prince who laments that no-one loves him for himself, and so exchanges places with his aide-de-camp. A melancholy dreamer who dons a deceased jester’s motley and finds himself imprisoned for impertinence.

Thomas Larcher's The Hunting Gun at the Aldeburgh Festival: in conversation with Peter Schöne

‘Aloneness’ does not immediately seem a likely or fruitful subject for an opera. But, loneliness and isolation - an individual’s inner sphere, which no other human can truly know or enter - are at the core of Yasushi Inoue’s creative expression.

Actress x Stockhausen Sin {x} II - a world premiere

Is it in any sense aspirational to imitate - or even to try to create something original - based on one of Stockhausen’s works? This was a question I tried to grapple with at the world premiere of Actress x Stockhausen Sin {x} II.

The London Handel Festival and The Royal Opera announce a co-production of Handel’s Susanna starring members of The Royal Opera’s Jette Parker Young Artists Programme

The London Handel Festival and The Royal Opera today [14 May 2019] announced a co-production of Handel’s oratorio Susanna as part of the 2020 London Handel Festival. The new production, performed in English in the Linbury Theatre [5 - 14 March 2020], will star members and Link Artists from The Royal Opera’s Jette Parker Young Artists Programme. Handel’s Susanna was written for Covent Garden and had its premiere on the site in 1749, but has not been performed at Covent Garden since.

Royal Opera House announces 17 new productions for its 2019/20 Season

The Royal Opera House today launches its 2019/20 Season, unveiling an exciting range of new commissions, world premieres and much-loved revivals, supported by a diverse range of ticketed and free daytime events, activities and festivals for people of all ages. In the first full Season since the completion of the Royal Opera House’s three-year Open Up renovation, The Royal Opera Company unveils a host of innovative new work, with 13 new productions, including two world premieres, in the Season ahead.

The BBC Singers and the Academy of Ancient Music join forces for Handel's Israel in Egypt

The biblical account of the Exodus of the Israelites from Egypt is the defining event of Jewish history. By contrast, Handel’s oratorio Israel in Egypt has struggled to find its ‘identity’, hampered as it is by what might be termed the ‘Part 1 conundrum’, and the oratorio has not - despite its repute and the scholarly respect bestowed upon it - consistently or fully satisfied audiences, historic or modern.

Measha Brueggergosman: The Art of Song – Ravel to John Cage

A rather charming story recently appeared in the USA of a nine-year old boy who, at a concert given by Boston’s Handel and Haydn Society, let out a very audible “wow” at the end of Mozart’s Masonic Funeral Music. I mention this only because music – whether you are neurotypical or not – leads to people, of any age, expressing themselves in concerts relative to the extraordinary power of the music they hear. Measha Brueggergosman’s recital very much had the “wow” factor, and on many distinct levels.

In interview with Polly Graham, Artistic Director of Longborough Festival Opera

What links Wagner’s Das Rheingold, Donizetti’s Anna Bolena, Mozart’s Don Giovanni and Cavalli’s La Calisto? It sounds like the sort of question Paul Gambaccini might pose to contestants on BBC Radio 4’s music quiz, Counterpoint.

World premiere of Cecilia McDowall's Da Vinci Requiem

The quincentennial of the death Leonardo da Vinci is one of the major events this year – though it doesn’t noticeably seem to be acknowledged in new music being written for this.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.


OPERA TODAY ARCHIVES »

Reviews

24 May 2019

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.  »

Recently in Reviews

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27 Jun 2005

Carmen at Styriarte

Vom Bundeskanzler bis zu Deutsch lands Feuilletonistinnen waren alle da. Denn mit Andrea Breth und Ni kolaus Harnoncourt hatten zwei Liebkinder des Kultur-Establishments erstmals gemeinsam eine Musiktheaterproduktion zu erarbeiten. Derartige Kunst-Bande zu knüpfen, ist die nobelste Aufgabe von Festspielen. Womit die “Styriarte” für ihre heurige Eröffnung ein adäquates Zeichen gesetzt hat. Auf der Strecke blieb dabei Bizets “Carmen”; oder zumindest das, was man bisher dafür gehalten hat. »

26 Jun 2005

BARBER: Orchestral Works

EMI has re-released a 2-disc set of some of Samuel Barber’s most compelling orchestral and chambers works on the Gemini — The EMI Treasures label. An album of the same recordings was released in 2001, itself a remastering of original recordings dating from the mid-1980s through the mid-1990s. Disc 1 from both these sets contains music recorded in 1986 and 1988 with the St. Louis Symphony Orchestra conducted by Leonard Slatkin and released in 1990 as a single disc. The second disc of the set contains chamber music of Barber, recorded in 1995. Each time this music has been released it has received positive reviews. See for example, Jon Yungkans’s review on the The Flying Inkpot; the reviews on Amazon.com; or Victor Carr’s review on Classics Today. »

26 Jun 2005

RESPIGHI: Gli uccelli; Il tramonto; Trittico botticelliano

Ottorino Respighi’s reputation as an arranger of early music sometimes obscures the contributions he made in assembling those works into what are essentially new compositions. The carefully planned suite of music from the Baroque era entitled “Gli uccelli” – “The Birds” – is an excellent example of his ability to adapt older compositions into a new context, and in this case juxtapose music by various composers into a cohesive whole. Respighi completed this suite in 1927, and the orchestrations remain effective, over a half a century later. The idiomatic use of the orchestra makes “Gli uccelli” a fine piece for an orchestra to show its ability to perform as a tightly rehearsed ensemble, and this is borne out in the festival performance preserved in this recording. »

26 Jun 2005

Chief Joseph at Berliner Staatsoper Unter den Linden

Das schönste Teil steht als Reklame vor der Tür: einer von Jimmy Durhams Büffeln, gehäutet und skelettiert. Ansonsten hat der indianische Künstler und Bühnenbildner eine Mischung aus Showbühne mit Aussichtspodest und Bahnhofshalle für Hans Zenders neue Chief Joseph-Oper gebaut: Vorn links auf dem teilweise überdeckten Orchestergraben ein Riesenmüllcontainer, aus dem später der kleine Joseph oder auch Hin-mah-too-yah-lat-kekht, was soviel heißt wie “Der Donner, der über die Berge rollt”, kriecht und den Vater befragt, wie das denn sei mit den Weißen, ob sie alle Lügner sind, oder ob man einigen von ihnen wenigstens trauen kann, bevor er selbst das Kommando übernimmt, übernehmen muss. In rotbraunem Siedleranzug, nicht in umbrafarbener Federkluft, geht er dann sinnend durch die Szene. »

24 Jun 2005

LEHÁR: Zigeunerliebe

One of my oldest memorabilia is a programme of a performance of Zigeunerliebe by my father’s operetta company just after the war. It was one of the many amateur companies in Flanders though the title roles were sung by good singers who earned extra money by combining a few companies. I was too young to assist at this performance but a few years later I would be a regular spectator. The moment I could read I was put into service rehearsing my father’s lines. Every time the company put on a new piece I eagerly read the libretto. Most people nowadays think that an operetta is something like a Carmen with a few dialogues but that’s definitely not true. A Lehár operetta always had a lot of spoken dialogue and often had a 50% spoken 50% sung lines balance. Many an operetta lasted 3 hours without including pauses. »

23 Jun 2005

KRENEK: Three One Act Operas

Ernst Krenek is remembered primarily for one work, his jazz opera Jonny spielt auf, which irritated the cultural conservatives in Germany and Austria in the years between the wars and helped ensure his exile to America during the Nazi era. If an opera strewn with jazzy tunes and a romantic black hero wasn’t enough to tick off the right wing, he turned to serialism for his magnum opus, the anti-Nazi, pro-Austrian Karl V (Charles V, whom you’ll remember from Verdi’s Don Carlo). »

23 Jun 2005

CARISSIMI: Oratorios

Two recent CDs of Carissimi oratorios provide the listener the opportunity to compare very different “takes” on the composer’s remarkable works, which exemplify the sophisticated and exclusive style cultivated by the cardinalate nobility in mid-seventeenth-century Rome. Carissimi’s oratorios survive in manuscript only, and with relatively sparse indications concerning instrumentation; it has long been a challenge for contemporary performers to balance the need for dramatic clarity with the desirability of sonic variety, and the two groups featured on these CDs take different approaches to that challenge, each with fruitful results. »

22 Jun 2005

La Bohème at Covent Garden

This production of Puccini’s classic, originally directed by John Copley, began life in 1974 and is now the oldest in the Royal Opera’s repertory. It’s still serviceable in its old-fashioned way, at least when lit with sufficient discretion to hide its increasing shabbiness. »

21 Jun 2005

COUPERIN: Les Concerts Royaux

If you’ve recently browsed the shelves in a bookstore or Blockbuster, you would have to be oblivious not to notice titles such as The DaVinci Code, the Romanov Prophecy, or films like National Treasure and Kingdom of Heaven. Responses to these titles suggest an increased interest in historical topics and journeys that provoke us to unravel clues that, in the end, will reveal an ultimate truth. Works that exude knowledge and mystery have always been popular in music, because it is by the dissemination of clues and their eventual interpretation that lead to the re-creation of a musical moment in history. One might even call it one of the earliest forms of a “treasure hunt.” In this high quality CD, the Concert des Nations directed by Jordi Savall, has successfully disseminated the few details left by Couperin and re-created what are perhaps the most important works of the French royal court: the Concert Royaux. Having already recorded Couperin’s Pièces de Voile, Les Nations, and Les Apothéoses, the Concert Royaux would comprise the second category of chamber works written by Couperin for the Court of King Louis XIV. To gain a better understanding of the general purpose of these concerts, you might think of them as relative to Handel’s Music for the Royal Fireworks, but only in their sense of purpose. Their stylistic elements couldn’t be more diverse. »

20 Jun 2005

Britten's Gloriana in St. Louis

ST. LOUIS, June 19 – In more than 50 years on the British throne Queen Elizabeth II has shown scant interest in opera. So it is paradoxical that one of the major events of her coronation ceremonies was the 1953 premiere by the Royal Opera at Covent Garden of Benjamin Britten’s “Gloriana,” an elaborate three-act work about the first Queen Elizabeth, with a libretto by William Plomer based on Lytton Strachey’s book “Elizabeth and Essex.” »

19 Jun 2005

Schade and Hvorostovsky in Vienna

Die Zugabe war klug gewählt: “Wien, Wien nur du allein” sang der deutsch-kanadische Tenor Michael Schade zum Abschluss seines Liederabends im Konzerthaus. Bei so viel Zuneigung war ihm frenetischer Beifall sicher – und mancher Lacher für die drollige Aussprache. Den Applaus hatte er sich verdient. “Of Ladies and Love” war das Motto des Konzerts mit Liedern von Schubert, Beethoven, Liszt, Faure, Ravel und Strauss. Besonders mit leidenschaftlichen, ungestümen Liedern überzeugte er, etwa mit Liszts “Tre sonetti de Petrarca” oder Beethovens “Adelaide”. Hier kam Schades volle, schön timbrierte Stimme hervorragend zur Geltung, und auch im Ausdruck schienen ihm dramatische Liebeserfahrungen näher zu liegen als innig-verzärtelnde. »

19 Jun 2005

Boris Goudenow and the Boston Early Music Festival

BOSTON, June 17 – For fans and performers of early music, this city is paradise for a week every other June, when the Boston Early Music Festival sets up its combination concert marathon and trade show. The festival offers performances every night between 5 and midnight. The centerpiece is always a lavishly produced Baroque opera – this year’s is Johann Mattheson’s long-lost “Boris Goudenow” – but concerts by imported ensembles and soloists, and by the festival’s period instrument orchestra, are also a strong draw. »

18 Jun 2005

A Scottish Lady Mass: Sacred Music from Medieval St. Andrews

Despite theoretical beginnings several centuries earlier, we have come to think of early polyphony as having its first “golden age” in twelfth- and thirteenth-century Paris, an environment teeming with things new: the University of Paris, the Cathedral of Notre Dame, and the large-scale organa by Leoninus and Perotinus. If our attention is drawn to Paris, it is with good reason. But significantly, the musically innovative style of the Parisians had a geographic dissemination that took it to places like St. Andrews in Scotland, home to a cathedral roughly contemporary with Notre Dame and, to continue the symmetry further, in the fifteenth century, also home to Scotland’s oldest university. A run of Norman bishops in St. Andrews secured a degree of continentalism in the local ecclesiastical culture, and one of the most important manifestations of this is the Scottish manuscript of Parisian repertory that we today know as “W1.” W1 is a copy, in all likelihood one made at St. Andrews, of the Parisian Magnus liber organi — the “great book of organum” by Leoninus, as well as other works, some of them local. And it is from this local Scottish repertory contained within W1 that Red Byrd has fashioned their “Scottish Lady Mass.” »

16 Jun 2005

SCHÜTZ: Historia der Auferstehung Jesu Christi

In the seventeenth century Germany did not move quickly to embrace the new oratorio genre, despite its mainstream cultivation in Italy. Arguably, in fact, the Italianism of the genre may have made it suspect in some Protestant circles, and contributed to its slow cultivation. However, German interest in musical settings of sacred narrative is clear, given the examples of historiae composed by Heinrich Schütz and his contemporaries. These historiae present Biblical stories without modern poetic interpolations, and Schütz’s “Resurrection History” of 1623 is one of the most compelling. Music historians have rightly seen in the historia an antecedent of the German oratorio, but in its own right — and especially in Schütz’s compositions — it is a rich form, liturgically functional and compositionally sophisticated, that need not be harnessed to the more prominent oratorio to warrant our attention. With this recent recording of the “Resurrection History,” Manfred Cordes and Weser-Renaissance Bremen add a fifth installment to their series of Schütz recordings for Classic Production Osnabrück and with it a welcome new performance of this significant work. »

16 Jun 2005

Rossini's La gazzeta at the Liceu

El dramaturgo y premio Nobel de Literatura italiano Dario Fo confesó ayer que ha «saqueado» a Rossini y la tradición de la ‘comedia dell’arte’ para hacer la escenografía de la ópera ‘La gazzeta’ del compositor italiano, que el Liceo barcelonés estrenará el próximo día 20. ‘La gazzeta’ narra la historia de don Pomponio, que quiere casar a su hija con el mejor partido. Para ello, inserta un anuncio en el diario en el que hace un elogio ditirámbico. Aunque la obra estaba llamada a tener éxito, la escasa promoción propició, según Fo, que no recibiera el interés del público cuando se estrenó en Nápoles en 1816. »