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Elsewhere

Shortlist Announced for 2017 Wigmore Hall/Kohn Foundation International Song Competition

Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.

Over 180 perform in action-packed new work: Silver Birch

Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

A Chat With Italian Conductor Riccardo Frizza

Riccardo Frizza is a young Italian conductor whose performances in Europe and the United States are getting rave reviews. He tells us of his love for the operas of Verdi, Bellini, and particularly Donizetti.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

Garsington Opera For All

Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

The Royal Opera House announces its 2017/18 season

Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.


OPERA TODAY ARCHIVES »

Reviews

28 Apr 2017

Shortlist Announced for 2017 Wigmore Hall/Kohn Foundation International Song Competition

Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition. »

Recently in Reviews

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30 Jan 2005

WAGNER: Die Feen

How narrow-minded can one be ? Very much so in the case of Richard Wagner who succeeded in not mentioning once the name of Verdi in all his writings. And is not his decision to banish his early youth works from the Bayreuth-barn rooted in that same mentality ? Of course during his lifetime he was the subject of many attacks and maybe he feared to be the victim of ridicule with critics dissecting every bar of Die Feen, Das Liebesverbot and Rienzi and looking for influences of other composers. Rienzi and Liebesverbot had been staged while he lived but Die Feen was only known by a few selections and he never took pains to have his first opera performed at a time when he could easily have done it. Die Feen was premiered 5 years after his death and then led a rather undistinguished life of a few performances. Still the amount of bigotry of his successors is even greater, considering that Siegfried Wagner himself was a composer of fairy tales and should not have respected his father’s wish not to perform Die Feen. The grandchildren complied as well though one can understand their motives. As Wagner lost some of his hallowed reputation during the fifties and the sixties, the stock of Verdi rose very high indeed and maybe it was not in the Wagners’ interest to show the more amateurish trials of granddaddy. Eva Wagner, Wolfgang’s estranged daughter who should have succeeded him long ago, was the first to offer a business plan for a new New Bayreuth where Die Feen, Rienzi and even the operas of composers who influenced the maestro would have their place. And then music lovers could at last hear and see what the fuss is all about if there is something to be excited about. Well, there is. The overture is a gem, all of its 11 minutes and almost worth the purchase of the set. Yes, it’s easy to trace the influence of Mozart and especially Weber but 20-year Wagner had a voice of his own as well, different from that of his contemporaries. Wagner was twelve years younger than Lortzing who could easily have treated the same fairy subject but one immediately hears the far richer orchestration, the ease Wagner has in composing more complicated arias and ensembles. And one regrets somewhat that the mature Wagner gave his best tunes to the orchestra instead of sticking with the singers like the youthful composer still did in the old tradition. »

29 Jan 2005

Barbiere in Madrid

Rénové en 1997 avec un luxe inouï, le Teatro Real de Madrid ne lésine pas non plus sur la qualité des productions. Du rare Osud de Janacek en 2003, marqué par la qualité de la mise en scène de Bob Wilson, de l’orchestre et de la distribution vocale, ne reste que des souvenirs et des photographies, faute de producteurs intéressés par la réalisation d’un DVD. Ce ne sera pas le cas de ce nouveau Barbier de Séville, dévoilé il y a quelques jours, diffusé par Arte dans une semaine, et bientôt dans les bacs. En filmant trois représentations successives, l’ambition est d’offrir le meilleur Barbier en DVD du marché. »

28 Jan 2005

Don Giovanni in Baltimore

The elegantly regilded Hippodrome Theatre could be mistaken for an old-world opera house. On Wednesday night, for three hours at least, that’s exactly what it was. Teatro Lirico D’Europa — administratively based in Hunt Valley — presented a fully staged production of Don Giovanni that offered sufficient entertainment value and demonstrated the theater’s flexibility. »

28 Jan 2005

Poppea at Palais Garnier

Parisians do not like camp. David McVicar’s production of Monteverdi’s last opera was jeered in October at the Théâtre des Champs Elysées and now David Alden has met the same fate. This is unfair because his use of radical kitsch is altogether more sophisticated and his manipulation of the singers faultlessly choreographed. In any case, this classic staging dates from 1997, when it was first seen in Cardiff and Munich. McVicar’s approach now looks like a pale copy of an industry template. »

27 Jan 2005

Singing Ives

In 2004, festivals and concerts commemorated the 50th anniversary of the death of Charles Ives, an insurance executive from Danbury and arguably America’s greatest native-born composer. Tonight and Sunday at Wesleyan University’s Crowell Recital Hall, the tribute will continue with the first of several recitals surveying Ives’ 129 songs. »

27 Jan 2005

Siegfried's Id

Richard Wagner loathed the first performances of Der Ring des Nibelungen, which he scrabbled together at his own theatre in 1876. “Next year we’ll do everything differently,” was the mildest comment he had to offer, and the most convenient for directors eager to distinguish their Ring productions from all others. »

27 Jan 2005

The Tsar's Bride in Moscow

Following its disastrous staging last April of Georges Bizet’s “The Pearl Fishers,” I had high hopes that Novaya Opera would get itself back on track by turning to a classic of Russian opera for its next production. But, at its debut last Sunday, the theater’s new version of Nikolai Rimsky-Korsakov’s “The Tsar’s Bride” proved, if not a disaster, at least a major disappointment, due mainly to the muddled stage direction of Yury Grymov and the theater’s decision to discard as much as a third of the opera’s music. »

27 Jan 2005

Agony and Ecstasy in LA

Nearly a century separates the two beguilements installed at the Music Center in recent weeks: Giuseppe Verdi’s Aida of the 1870s and Luciano Berio’s Laborintus II of 1965. Nobody would mistake the style or purpose of the one for the other; they are both shrewdly welded to the taste of their respective times. Something grander links them – an innately Italian sense of theater that unites all the arts of the region into a single onrush of word, music and movement. To the north, Richard Wagner made a great fuss as he dreamed up his “total artwork” concept with ream upon ream of explanatory philosophy. To the Italian spirit, that unity of the expressive arts was simply a form of breathing. Petrarch, Monteverdi, Tintoretto, Berio . . . just the names by themselves take on a theatrical dimension. »

25 Jan 2005

SCHUBERT: Alfonso und Estrella

New artists are taking greater chances with repertory, looking for niches to call their own. Dawn Upshaw explores new music, Cecilia Bartoli eighteenth-century Italian song, and in this live recording up-and-coming artists Eva Mei and Rainer Trost take on the lead roles in Schubert’s Alfonso und Estrella. Mei and Trost’s sympathetic singing with the orchestra and chorus of the Teatro lirico di Cagliari conducted by Gérard Korsten breathes life into this choppy opera, which Liszt famously condemned as a work of only historical interest. »

25 Jan 2005

Kát’a Kabanová at Staatsoper Unter den Linden

Ihre Ruh’ ist hin, ihr Herz ist schwer. Die junge Frau im gelben Sommerkleid duckt sich in ihrem Stuhl, drückt die Hände in den Schoß, blickt nach oben. Diesmal ist es nicht Goethes Gretchen, das hier – um im jüngsten Grass-Jargon zu bleiben – “verthalheimert”, sprich: auf ihr sprachliches und inhaltliches Gerüst skelettiert wurde. Es ist die Kaufmannsgattin Katja Kabanova, die ihre einzige Sehnsucht, die Liebe zum schwächlichen Boris, mit dem Leben bezahlt und in die Wolga geht. So steht es in Alexander Ostrowskis Theaterstück “Das Gewitter” von 1859 geschrieben. Welches Michael Thalheimer, der kühlkopfige Minimalist unter den tonangebenden Theaterregisseuren, sicherlich auf das Wesentliche zurechtzustutzen vermocht hätte. Ohne russische Folklorismen und Nebenhandlungen, nackt, statisch, als pure Versuchsanordnung. »

25 Jan 2005

Il Trovatore at Houston

The opening-night audience for Houston Grand Opera’s revival of Il Trovatore had one thing on its mind: grabbing every chance to cheer the familiar tunes that propel Verdi’s dramatically awkward piece. As soon as soprano Sondra Radvanovsky finished Leonora’s first big aria, the bravos let loose — far more intensely than usual in the middle of a performance. The ache to approve a style of music many people view as true “grand” opera continued right up to the curtain calls. Then, the crowd unleashed cascades of applause and yells. »

24 Jan 2005

LOEWENBERG: Annals of Opera, 1597-1940

This volume has long been regarded as the definitive work on the subject, and has been quoted in countless later works whenever a reference was required to the performance histories of individual operas. Taken as a whole, especially when one considers the state of library science when the book was first written, it is a magnificent piece of work, and belongs on the bookshelf of every researcher in the operatic field. »

24 Jan 2005

Schumann's Genoveva at Volksoper Wien

Robert Schumann hat seine Spitzenposition in der Musikhistorie: herrliche Symphonien, wunderbare Kammermusik, großartige Lieder. Doch er hat auch eine Oper hinterlassen: Genoveva. Eine Komposition auf ein eigenes, ungelenkes Libretto, das durch die Zeiten geistert und weder sanfte Ruhe noch dauerhafte Wiederbelebung erfahren kann. »

24 Jan 2005

Resonanzen 2005: Alessandro Scarlatti's La Vergine dei Dolori

Neun Tage lang darf sich Wien jetzt wieder als Welthauptstadt der Alten Musik fühlen. Zum 13. Mal locken die “Resonanzen” ein begeisterungsfähiges Publikum mit einer wohlabgewogenen Mischung aus bewährten und für Wien neuen Künstlern ins Konzerthaus. Das Motto “Metropolen” hebt sich wohltuend von der zuweilen etwas aufgesetzt wirkenden Wahl vergangener Jahre ab: Sinnvoll ordnen sich die Abende zu einem Reigen europäischer Musikzentren zwischen Padua, London und Paris. So schon “Rom”, das stürmisch akklamierte Eröffnungskonzert im Großen Saal: Keiner könnte die musikalische Pracht der Ewigen Stadt im Barock besser personifizieren als Alessandro Scarlatti mit seinen fast 40 Oratorien – die Gattung erlebte dank des jahrzehntelang aufrechterhaltenen päpstlichen Opern-Verbots eine Hochblüte. “La Vergine dei Dolori” (1717) ist ein Spätwerk; ablesbar an der bis ins Letzte verfeinerten Ausdrucksskala, der preziösen Führung der Singstimmen, der extravaganten Harmonik namentlich in den Rezitativen. Die Seelenqualen der Gottesmutter angesichts der Passion werden so in immer neuen Farben ausgemalt. »

24 Jan 2005

Monteverdi's Le Couronnement de Poppée at Lyon

On revoit encore William Christie, l’été dernier, inquiet de la tournure qu’allait prendre son travail avec Peter Stein pour Le Couronnement de Poppée prévu à Lyon cet hiver : le metteur en scène allemand avait, en effet, très envie de se débarrasser des scènes comiques qui, selon lui, viennent comme un cheveu sur la soupe, alors que c’est justement ce mélange des tons qui fait la grandeur de la pièce ! Ce qui devait arriver arriva : on apprit bientôt que Stein avait jeté l’éponge, remplacé par Bernard Sobel. Et c’est bien avec le fondateur du Théâtre de Gennevilliers que vient d’avoir lieu la première du chef-d’oeuvre de Monteverdi à l’Opéra de Lyon. Sobel apporte ainsi sa pierre à l’engouement actuel pour cet opéra fascinant, après McVicar, au Théâtre des Champs-Elysées, et avant David Alden au Palais Garnier. Après la lecture pléthorique et riche en clins d’oeil de McVicar, façon sitcom hollywoodien, Sobel mise sur l’humilité et la lisibilité. Dans le décor unique mais mouvant de Lucio Fanti, un enchevêtrement de figures géométriques bleues tachées d’étoiles et formant une voûte, les personnages évoluent dans des costumes accentuant le drapé des toges à l’antique. Pas de transposition ici, mais une allégorie plus intemporelle qu’actuelle. On est parfois à la limite du kitsch et de la naïveté, comme ce sacre final par un angelot ailé, à la lueur de la lune. »

24 Jan 2005

Gluck's Alceste — A Crumbling Edifice in Boston

Last May, Opera Boston general director Carole Charnow saw a production of Andre Previn’s operatic version of ‘‘A Streetcar Named Desire’’ in Washington, D.C. She knew immediately she had found the director she wanted for the collaborative production of Gluck’s ‘‘Alceste’’ that Opera Boston and Boston Baroque will present this week. »