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Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Julian Prégardien : Schubert, Wigmore Hall, London

The Wigmore Hall's complete Schubert song series continued with Julian Prégardien and Christoph Schnackertz, in a recital deferring from May. Well worth the wait, because Prégardian is good, his singing enhanced by very strong musical instincts. In Lieder, sensitivity and musical intelligence are as important as voice. A good recital, is one where you come away feeling you've gone deeper into the repertoire thanks to the performer, as opposed to watching celebrity for celebrity sake

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.


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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.

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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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