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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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22 Feb 2005

Anne Sofie von Otter at Göteborg

Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire — what if I didn’t like them in concert? The concert hall was full — 1200 seats, imagine that for a recital… I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience. »

21 Feb 2005

Elisabeth Schwarzkopf Sings Operettas by Lehár, Suppé, and Strauss

This new disc, from Hänssler’s “Living Voices” series, divides essentially into two parts. The first four tracks are “Potpourris” from Léhar’s Paganini and Das Land des Lächelns, Suppé’s Bocaccio, and Johann Strauss’s Wiener Blut. Recorded in 1939 and 1940, these “Potpourris” feature tenor Rupert Glawitsch and a very young Elisabeth Schwarzkopf (b. 1915). The remaining eight tracks include excerpts from Schwarzkopf’s early-50s EMI complete mono recordings of Die Lustige Witwe and Land das Lächelns. »

21 Feb 2005

CANTELOUBE: Chants d’Auvergne

In the mountains of the vast Auvergne country near the south of France lays the inspiration of Canteloube’s Chants D’Auvergne. Marie-Joseph Canteloube, born in 1879 at Annonay, spent his childhood in the countryside of Malaret in the south of Auvergne. It was these roots that instilled his love for folk-music, consuming much of his compositional output and research. He wrote Les chants paysan s’élève bien souvent au niveau de l’art le plus pur, par le sentiment et l’expression, sinon par la forme. (The songs of peasants very often reach the level of the purest art in feeling and expression, if not in form.) »

21 Feb 2005

Michael Bohnen: At the Metropolitan Opera, New York

The title of this most worthwhile CD is, I’m afraid, somewhat misleading. The charismatic German bass-baritone, Michael Bohnen, sang at the Metropolitan Opera from 1923-1932. One might expect this CD to only document roles that Bohnen sang there, if not provide transcriptions of actual Met performances. In fact, the disc includes excerpts from several roles that Bohnen never sang at the Met. Of the twenty tracks on this CD, twelve, by my count, are souvenirs of Bohnen Met roles (Tonio, Rocco, Caspar, Mephistopheles, Wotan, Wolfram, Sachs, and Francesco in Schilling’s Mona Lisa). »

21 Feb 2005

Wozzeck at WNO

FIRST nights of Alban Berg’s Wozzeck are not traditionally sellouts, but then this was anything but a traditional first night. As the main event of Welsh National Opera’s inaugural weekend in its new home, the Wales Millennium Centre at Cardiff Bay, Saturday night’s performance sent out a volley of positive signals that will stand the company in good stead as it builds new audiences. There are more seats to fill than in WNO’s old house, but a strong forthcoming season combined with adventurous pricing policy should prolong the buzz. »

21 Feb 2005

Adams' The Death of Klinghoffer in Philadelphia

Time stands quite still in John Adams’ opera The Death of Klinghoffer. The pulsing orchestra, the explanatory choruses, the shifting viewpoints, and, above all, the tacit understanding that the events of 20 years ago are being replicated now with no measurable change give the work the feeling of complete stasis. »

21 Feb 2005

WNO Triumphs With La Traviata

Welsh National Opera’s first performance in its new home could so easily have been a disaster. But nowhere was the return of its former musical director Carlo Rizzi more crucial than in this revival, as he transformed the shoddy Traviata of last May into an emphatic restatement of the musical values that have traditionally been at the core of the WNO. Rizzi conducted with authority and passion, and with such care for his singers that where terminal decline had beckoned, he seemed to have effected a miracle cure. »

21 Feb 2005

Handel's Semele at Scottish Opera

A tale of everyday mortals and gods entranced a nearly full house at beleaguered Scottish Opera last night with the same clever mix of pathos, wit, drama and humour that has kept nations’ favourite soaps at the top of the viewing and listening schedules for decades. And it was the visual elements as much as the vocal and musical that clinched the success of this premiere performance last night. Director John la Bouchardiere (of “The Full Monteverdi” fame) worked with a light touch that engagingly mixed some pretty unusual elements into a confection that finally had the audience calling its approval. Likewise, young Christian Curnyn on the podium brought his Early Opera Company experience and love of truly modern stagings of Handel to bear, and managed to persuade the SCO orchestra to eschew both vibrato and swooping lines without adding any extra period instrumentalists, save a harpsichord. Apart from a slightly unconvincing first 10 minutes (of more later) they played with increasing verve and apparent conviction throughout. »

21 Feb 2005

Daniel Catán's Florencia en el Amazonas

If you had to name an opera you thought Seattle music lovers were dying to see and hear, what would be your guess? “Carmen”? “Madame Butterfly”? Maybe the ever-beloved story of ill-fated young lovers, “La Boheme”? »

21 Feb 2005

SALGADO: The Teatro Solis 150 years of Opera, Concert and Ballet in Montevideo

During the latter half of the 19th century, and much of the 20th, countless opera companies, mostly Italian, but also some French and an occasional German, toured much of the Southeast coast of Latin America. Cities visited most frequently included Buenos Aires, Montevideo, Rio de Janeiro, and Sao Paulo, with occasional swings inland (Rosario and Cordoba), but sometimes going as far West as Santiago and Valparaiso. »

19 Feb 2005

Verdi's Otello at Opéra-Bastille

Ce ne sont pas des notes qui jaillissent de la baguette de Valery Gergiev, c’est un foudroiement : une tempête d’air, d’eau, de feu qui déchire l’espace et fige d’horreur le chœur des Chypriotes massés au port pour le retour vainqueur d’Otello. Une puissance dévastatrice, métaphysique. »

19 Feb 2005

PENDERECKI: A Polish Requiem

Krzysztof Penderecki’s A Polish Requiem is a monumental work expressing the struggles of 20th century Poland against oppression. Written over the course of several years in the 1980s and 90s, sections of A Polish Requiem memorialize significant events in Poland’s history. The Lacrimosa was written for Lech Walesa and his Solidarity movement as a memorial to Gdansk dock-workers who died in a conflict with authorities. The Agnus Dei was composed as a memorial tribute to the Polish religious leader, Cardinal Wyszynski and the Recordare marks the beatification of Father Maximilian Kolbe who sacrificed his life at Auschwitz so that another man and his family could live. In addition, the Dies Irae was written to mark the 40th anniversary of the Warsaw uprising against the Nazis. In its whole, A Polish Requiem is a work of piety as an expression of Penderecki’s devout Catholicism and a conviction of the human ability to triumph over evil. »

19 Feb 2005

Renée Fleming in Boston

Renée Fleming sang the Boston leg of her current recital tour last night at Symphony Hall accompanied by the distinguished German pianist Hartmut Höll. Not only was Ms Fleming in free, shimmering and beautifully controlled voice, but last night’s program of Purcell, Handel, Berg and Schumann was some of her most disciplined work in a very long time. »

18 Feb 2005

KRAMER: Opera and Modern Culture — Wagner and Strauss

"New musicology" is the cultural study, analysis and criticism of music, which proffers the belief that music has societal, religious, political, personal, and sexual agendas. Consequently, new musicology, much like the discussion of such topics at social gatherings, can be polarizing. »

17 Feb 2005

Nabucco at the Met — Another View

NABUCCO. Music by Giuseppe Verdi, libretto by Temistocle Solera. Metropolitan Opera, James Levine conducting. Through March 8 at Lincoln Center. Call 212-362-6000 or visit www.metopera.org. Biography can be a distorting lens through which to view art. A case in point is Verdi’s “Nabucco” (1842), his first great success, which followed the deaths of his children and wife between 1838 and 1840 and the humiliating failure of his second opera. »

17 Feb 2005

Cosi fan tutte at San Diego

For San Diego Opera conductor Karen Keltner, returning to the score of Mozart’s opera “Cosi fan tutte” is like slipping on a pair of well-worn leather gloves. The music fits snugly with the vocal parts, and the luxurious feel of the piece improves with each wearing. »

17 Feb 2005

Semele in Scotland — Another View

In Scottish Opera’s early days, Handel was not a high priority. Debussy, Verdi, Mozart and Mussorgsky were the composers with whom the company made its name. As a Handel conductor, Alexander Gibson – like Pierre Boulez – went no further than the Water Music. In his role as administrator, Peter Hemmings was forthright and forbidding. Handel’s operas, he declared, were the kiss of death. »

16 Feb 2005

Tristan und Isolde at Geneva — Other Views

Faced with Wagner’s marathon symphonic poem with voices, it is easy to see why producers are panicked into hyperactivity. Olivier Py’s new staging does just that. Wagner whittled down the characters to the bare minimum, to present an unadulterated account of doomed passion. Py, a promising, provocative talent in France but on this evidence short on maturity and focus, elects to flood the stage, literally in act three, with supernumeraries and hackneyed symbolism that feeds on Shakespeare and Arthurian legend. »

16 Feb 2005

Verdi's Nabucco at the Met

There is an honesty to Elijah Moshinsky’s four-year-old production of Verdi’s “Nabucco,” which returned to the Metropolitan Opera on Monday night. No excuses are made for the opera’s creaky theatrical state, no attempts to bring up-to-date relevance to what became a symbol of revolution and national unity for Italians 160 years ago. »

16 Feb 2005

Die Zauberflöte at ROH

AN ODD thing about David McVicar’s productions is the way they improve with time. When this show first appeared it was too po-faced by half, full of regard for the pomposities of the piece but hardly at ease with its lightness, enchantment and childish simplicity. »

16 Feb 2005

Julius Caesar in Hamburg

Hamburg – These. Antithese. Synthese. So einfach ist das manchmal. Anstatt ein sehr abstraktes, gern auch sehr allegorisches Genre wie die Barock-Oper in ein um Wirklichkeit bemühtes Regie-Korsett zwingen zu wollen, das ihren schillernden Typen das Entrückte, Allgemeingültige nehmen würde, geht Karoline Gruber bei “Giulio Cesare in Egitto” einen ganz eigenen, ganz cleveren Regie-Weg: Zuerst wird auf Pointe komm raus gealbert und überdreht. Dann auf Gedeih und Verderb geliebt. Im dritten Akt ohne Wenn und Aber geläutert. Die Katharsis kommt spät, aber gewaltig. »

15 Feb 2005

Gounod's Faust in Cleveland

“Making a pact with the devil’’ is one of those expressions that have gotten diluted with overuse. Nobody really means it when they say it, unless maybe they happen to be talking about Charles Gounod’s opera Faust, where the music is as transcendently lovely as the story line is dark. »

15 Feb 2005

Semele in Scotland

WHY IS IT we feel so comfortable with the Handel who wrote such pot-boilers as the Hallelujah Chorus, Arrival of the Queen of Sheba, Music for the Royal Fireworks or Water Music, yet dread the thought of sitting through one of his many operas? »