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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.


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Welsh National Opera explores Madness for autumn season

Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.

The season launches WNO’s 70th birthday year which will see the company stage seven new productions over the course of the year — including two world premières — and a classic revival.

[More . . . . ]


New Releases from Opera Rara

This month, Opera Rara embark on back-to-back recording projects — Donizetti’s Le duc d’Albe and Gounod’s La Colombe — with their Artistic Director Sir Mark Elder conducting the Hallé. Following last year’s release of Donizetti’s Rita which marked the company’s 50th complete opera recording to date, this is Opera Rara’s second collaboration with the Hallé. La Colombe will be released in November while Le duc d’Albe will be available next spring.

Click here for more information.


A Time-Out With Isabel Leonard: In 'L'Heure Espagnole' at San Francisco Symphony

By Sean Martinfield [Huffington Post, 2 June 2015]

Mezzo-soprano Isabel Leonard appears with conductor Charles Dutoit and the San Francisco Symphony this week in Ravel's one-act comic opera, L'Heure espagnole. (The Spanish Hour). The program opens with Ravel's brief "morning song," Alborado del gracioso and concludes with Manuel de Falla's Nights in the Gardens of Spain featuring pianist Javier Perianes. The opera (not quite an hour) also features tenors Jean Paul Fouchécourt and John Mark Ainsley, along with baritones Jean-Luc Ballestra and David Wilson-Johnson. Isabel sings the role of Concepion, a clockmaker's wife with way-too-much time on her hands. And with three potential lovers in the shop - two of them hidden in tall standing clocks - each counting the minutes until her buffoon of a husband returns, Isabel says, "She's hysterical! A woman on the edge of a nervous breakdown."

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On Site Opera Presents 'Barber of Seville' at Fabbri Mansion on New York’s Upper East Side

By K. Young [Classicalite, 31 May 2015]

This summer, On Site Opera (OSO) will present a new production that personifies the company's mission to produce operas in non-traditional locations ideally suited to the stories they tell. This June (9-13), OSO will stage a site-specific production of The Barber of Seville at the opulent Fabbri Mansion (House of the Redeemer) on New York City's Upper East Side.

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Il Trittico: Puccini's most underrated opera

By Rupert Christiansen [The Telegraph, 29 May 2015]

La Bohème, Tosca, Madama Butterfly - and oh yes, “the one with ‘Nessun dorma’ in it”, Turandot - make Puccini the world’s most popular opera composer, and one who earns ever more admiration as a musical dramatist and expressive melodist. Is there still some residual snobbery about his genius? Thirty years ago, I remember being shocked to hear William Walton confess in a television interview that in old age, he had come to love Puccini’s music even more than Verdi’s. Now I begin to sympathise.

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Metropolitan Opera Stars Join Opera Las Vegas in Puccini’s Madama Butterfly

Four stars of the Metropolitan Opera will headline the Opera Las Vegas fully-staged, live orchestra production of Puccini’s tragic love story Madama Butterfly at Judy Bayley Theatre on the UNLV campus on June 12th and 14th.

Click here for additional information.


Lowering the tone

By Laura Battle [FT, 8 May 2015]

Given the enormous enthusiasm for countertenors and, increasingly, male sopranos that has flourished in recent decades, it is surprising how little attention has been paid to the female vocal range. Of course, the trend has been largely dictated by the range of available repertoire. Opera companies and period ensembles, keen to emulate the sound of 17th- and 18th-century castrati, are now spoilt for choice of high male voices. Over the same period of time, true contraltos, considered by many to mark the lower limits of the female vocal range, appear to have all but disappeared.

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The Rake’s Progress, Metropolitan Opera, New York

By Martin Bernheimer [FT, 4 May 2015]

The Met season is gasping to a close, but the final major gasp — a revival of The Rake’s Progress — offers some degree of exhilaration.

Only “some degree”? Blame the qualification on the size of the house. Stravinsky’s quixotic faux-baroque masterpiece had its premiere, back in 1951, at La Fenice in Venice (with none less than Elisabeth Schwarzkopf heading the cast). At the time, the capacity of that theatre was 840. The all-too-mighty Met accommodates 4,000. Enough said, and, alas, enough badly heard.

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Three Tales, Imax Cinema, Science Museum, London

By David Cheal [FT, 24 April 2015]

Steve Reich and Beryl Korot tackle hubris with 2002 ‘video opera’ about science and technology

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Die beste hochdramatische Sopranistin der Gegenwart

By Manuel Brug [Die Welt]

Sie entäußert sich auf der Bühne, gibt perfekt eine vollkommen gestörte Frau, die moderne Mörderin: Die Schwedin Nina Stemme ist die ideale Heroine. Zu Hause mag sie das komplette Gegenteil.

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“Tarquin” an der Berliner Staatsoper: Vom Werden eines Diktators

By Benedikt von Bernstorff [Der Tagesspiegel]

Ernst Krenek hat seine Kammeroper „Tarquin“ 1940 im US-Exil geschrieben, nach der Uraufführung 1950 präsentiert die Werkstatt der Staatsoper im Schillertheater erst die dritte Produktion des Werks. Dabei beweist Krenek, dass sich mit der Zwölftontechnik der Schönberg-Schule effektvolles Musiktheater schreiben lässt. Die Partitur ist für zwei Klaviere, Geige, Klarinette, Trompete und Schlagzeug instrumentiert, die musikalische Dramaturgie suggestiv, tonale Anklänge und ein leitmotivisch eingesetztes Thema mit Sehnsuchtsintervall und Rosenkavalier-Appeal erleichtern den Zugang.

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Moses und Aron, Komische Oper Berlin

By Shirley Apthorp [FT, 21 April 2015]

Holocaust references are a delicate matter on any stage, but a defensible choice in a production of Arnold Schoenberg’s monolithic Moses und Aron. Here, the mountain that Moses descends is a vast pile of Jewish corpses.

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Death Clown for Cutie (Cav and Pag at the Met)

By Micaela [Likely Impossibilities, 19 April 2015]

Men are sensitive and easily injured souls, as ten minutes in any internet comment section would tell you. Such is also the gist of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci, the august double bill of verismo which presents us twice with the even more august situation of baritones interfering with soprano-tenor relationships and it all getting very bloody. In the Met's new production, Fabio Luisi makes these high octane scores sound quite classy, but otherwise the two diverge: a dreary, clunky Cav is followed by a fun and punchy Pag. Oh, one other thing in common: for better and for worse, Marcelo Alvarez is the tenor. I shouldn't be putting that last, which might give you an idea of what is going on here.

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A broken heart in a bloodstained nightgown

By Phillip Larrimore [14 April 2015, The Charlotte Observer]

Opera Carolina’s production of “Lucia di Lammermoor” at Belk Theater is elegantly set, handsomely lit, fleetly conducted, and sung with high virtuosity, especially among the principals.

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Voices in space: Meredith Monk & friends construct musical cathedrals at 50-year anniversary concert

By Rebecca Lentjes [bachtrack, 5 April 2015]

“The rhythm of words takes away from my sense of rhythm,” Meredith Monk explained after a riveting performance of her piece Things Heaven and Hell by the Young People’s Chorus of New York City. The third part of Ms. Monk’s 1992 work Three Heavens and Hells, this piece was one of only a handful to incorporate real words in the entirety of the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall last weekend.

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Beyond Falstaff in ‘Die lustigen Weiber von Windsor’: Otto Nicolai’s Revolutionary ‘Wives’

By John R Severn [Music & Letters, February 2015]

This article explores how Otto Nicolai and Salomon Hermann von Mosenthal’s Die lustigen Weiber von Windsor (Berlin, 1849) might contribute to an alternative reception history of Shakespeare’s The Merry Wives of Windsor, in which the play’s unusual features—in particular the central role it gives to female agency, family life, and the natural world—are positively valued.

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Scheherazade.2: Violin, cimbalom and female empowerment star in John Adams’ new work

By Rebecca Lentjes [Bachtrack, 28 March 2015]

John Adams has been known to draw inspiration from American writers—Walt Whitman, E. Annie Proulx—for his works, but his most recent composition, Scheherazade.2, is presented as a musical sequel of sorts to the sprawling Middle Eastern collection One Thousand and One Nights. Mr Adams explained at the piece’s world première on Thursday…

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