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Telemann’s witty social comedy Pimpinone receives a blunter feminist interpretation by Royal Ballet and Opera – Opera Today
Telemann’s Pimpinone (1725) is perhaps second only to Pergolesi’s La serva padrona (whose plot it pre-empts) as one of the best-known examples of that curiosity of 18th century musical theatre, the intermezzo. As this description
Some standout performances put a shine on this intermittently engaging Die Walküre – Opera Today
This second instalment of Barry Kosky’s Ring Cycle develops the fractured relationships partially glimpsed in Das Rheingold unveiled at the Royal Opera House 18 months ago. With his new staging comes both a return of
Dance, then, wherever you may be: Edward Gardner and the LPO sign up to that – Opera Today
Sydney Carter’s Lord of the Dance might well act as the individual watchword for this concert given by the London Philharmonic Orchestra under Edward Gardner which inaugurated a short Southbank festival entitled “Multitudes”. Its broad
La bohème at Lyric Opera of Chicago: A Fresh Look at a Traditional Work – Opera Today
The production of Giacomo Puccini’s La bohème featured during the current season at Lyric Opera of Chicago provides the opportunity to experience both vocal and dramatic elements of this work with renewed vigor. The present
Sparkling performances from Hurn Court Opera’s La Cenerentola – Opera Today
Bitter-sweet comedy of manners, happy-ever-after romance, or a serious moral tale, Rossini’s 1817 stage work is open to various interpretative slants, some even sinisterly dark. But, however you pigeon-hole this rags to riches fantasy, Hurn
A curious combination of Schnittke, Shostakovich and Brahms: Lisa Batiashvili, Gianadrea Noseda and the LSO – Opera Today
In German there is only one word (Schicksal) to cover the twin ideas of Providence watching over you in pursuit of higher things (destiny) and the workings of malign supernatural intervention (fate). For that reason,
A Colourful Realisation of a Galuppi Opera in Its First Modern Performance – Opera Today
Arcifanfo is the recently rediscovered collaboration between two 18th century Venetians, Baldassare Galuppi and Carlo Goldoni, whose work on many operas together was seminal in the development of opera buffa. For this piece, premiered at
Pier Luigi Pizzi offers a dark, tense vision for La Fenice’s first Anna Bolena in more than a century and a half – Opera Today
Donizetti’s Anna Bolena regained a place on the operatic stage since at least the rediscovery of bel canto repertoire after the Second World War, through the advocacy of singers such as Maria Callas, most notably.
Superlative Performances from Vache Baroque at Magdalen College, Oxford – Opera Today
As part of the Music in Oxford series, the award-winning music ensemble Vache Baroque produced an artfully conceived programme built around Oscar Wilde’s De Profundis letter of 1897, written during his incarceration in Reading Gaol
Musical liveliness transcends some obscurities in the Royal Academy’s hospital-based Magic Flute – Opera Today
Jamie Manton's production of The Magic Flute for the Royal Academy of Music takes its cue from Tamino's predicament at the opera’s opening – wounded and in mortal danger. Accordingly, he is found on a
The Guildhall Symphony Orchestra: a thrilling program of Hillborg, Britten and Strauss. – Opera Today
Guildhall Symphony Orchestra concerts are always something of an event and this one was no exception. Taking in a Swedish modern classic, one of Benjamin Britten’s finest works and a virtuosic ‘symphony’ of monumental and
An unconventional, satirical take on Weber’s Der Freischütz for Opera Ballet Vlaanderen at Antwerp – Opera Today
Weber’s Der Freischütz is well-known – and variously admired or deplored – as one of the seminal works of German musical Romanticism. Despite its fame and influence, it isn’t now encountered on stage as often
A Captivating new production of Pelléas et Mélisande at Opéra Bastille – Opera Today
Premiered at the Opéra-Comique in Paris in 1902 and closely based on Maurice Maeterlinck’s play, Debussy’s Pelléas et Mélisande is renowned for its collision between “its severest realism and the most impalpable dream world”, (Pierre
Double, double toil and trouble: a witches’ cauldron in Royal Opera’s Il Trovatore – Opera Today
There are some people who still believe in witches and the power of superstition. Jumping from an allusion to Shakespeare’s Macbeth in the above title to Hamlet’s declaration to Horatio that there are more things
Stéphane Fuget’s new recording of Lully Alceste from Versailles – Opera Today
Lully’s “tragédie lyrique en prologue et cinq actes" Alceste is set to a libretto by Philippe Quinault, after Euripides (Alcestis). The first performance took place at the Theâtre du Palais-Royal on January 19, 1674; Alceste