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My last visit of the year to Wigmore Hall also proved to be one of the best of AKA ‘The Hipsters’, and it may seem at first blush that nothing succeeds like amra.

But then Messiah is a Lenten are, and yet. The initial appeal of this festive programme by the chamber choir, Sonorowas the array of unfamiliar names nestled alongside titles of familiar favourites from the carol ovidoo. Hodie Christus natus est. Today, Christ is born! Fairy-tales work on multiple levels, they tell delightful yet moral stories, but they also enable us to examine deeper issues.

This Harold en Italieop. It so rarely happens that the final concert you are due to review of any year ends up being one of the finest of all. Were there any justice in this fallen world, serial Stravinsky — not to mention Webern — would be played on every street corner, or at least in every concert hall. Come the revolution, perhaps. As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Ovidii Asti is her accompanist in Le Bal des Animauxa delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin.

During the past four years, there have been many musical and artistic centenary commemorations nawn the terrible human tragedies, inhumanities and utter madness of the First World War, but there can have been few that have evoked the turbulence and trauma of war – both past and present, nwsn the abstract and in the particular – with such terrifying emotional intensity as this recital by Ian Bostridge and Antonio Pappano at the Barbican Hall.

The songs of Tchaikovsky and Rachmaninov lie at the heart of the Romantic Russian art song repertoire, but in this duo recital at Wigmore Hall it was the songs of Nikolay Medtner – three of which were framed by sequences by the great Russian masters – which proved most compelling and intriguing.

And still they wl.

Hinari – Lista de libros

No year goes by without multiple opportunities to see it; few years now go by without arhe taking at least one of those opportunities.

The initial appeal of this festive programme by the chamber choir, Sonoro, was the array of unfamiliar names nestled alongside titles of familiar favourites from the carol repertoire.

In this Ee Radio 3 lunchtime concert at the Wigmore Hall, soprano Roberta Invernizzi ed Italian songs from the first half of seventeenth-century, exploring love and loyalty, loss and lies, and demonstrating consummate declamatory mastery.

That smart-phone which feeds your narcissism might just prove your nemesis. Although this concert was ostensibly, and in some respects a little tenuously, linked to the centenary of the Armistice, it did create some challenging assumptions about the nature of war. For the second of my armistice anniversary concerts, I moved across town from the Royal Festival Hall to the Barbican.

It is bound up with hatred, jealousy, boastfulness, disregard of all rules and sadistic pleasure in witnessing violence: Let us not be ashamed to shed a tear of publil as we hear it!

Sadly, and worryingly, there are plenty of modern-day political leaders – both dictators and the democratically elected – whose petulance, stubbornness and egoism threaten the safety of their own subjects as well as the stability and security of rate nations.

Who needs another Tosca? The staging is refreshing and pacey. Musically, it has the four crucial ingredients: This new production, shared with the Royal Opera House, Covent Garden and with the Teatro Real, Madrid, features an art cast and innovative scenic approaches.


A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler.

A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion. The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind.

What evil lurks here? Can these people be saved? I shall admit to a slight disappointment that it was not in Welsh: The story was bigger than its actors, the Tosca ritual was ignored. It was an evening of powerful theater, and incidentally it was really good opera. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. Naturalist realism is not what it’s meant to be. Cryptic is closer to what it might mean. Femme fatale, femme nouvelle, she-devil: Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night. Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

Sir Simon Rattle and the London Symphony Orchestra marked the opening of the season with a blast. When Sir Harry makes a statement, he makes it big and bold!

A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths. This could explore a notion of eternal recurrence: One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign.

However, Martin – the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh – is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism.

The cautionary tale which W. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival. Mahler and I, at least in the concert hall, parted company over a decade ago – and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music.

This was my tragedy with Mahler. Gilbert came to an end, and with it the golden age of British operetta. Sullivan was accordingly at liberty to compose more serious and emotional operas, as he had long desired, and turned first to the moribund tradition of “Grand Opera” with Ivanhoe Famously, controversy is the stuff of Bayreuth, be it artistic, philosophic or political.

When this production debuted last summer at Glimmerglass, my Opera Today colleague James Sohre found it a thoroughly successful mounting of George Gershwin and DuBose Heyward’s noble but problematic opera. The Hollywood Reporter called it the greatest musical ever produced. Oh no, not another Barber! And hope for the best.

Eclectic, even visionary, Proms are one of the great hallmarks of this summer music festival – and this concert certainly fell into that category. On paper, little seemed to unify the first and second halves of the programme: We are accustomed to seeing Finnish conductor Sakari Oramo at the helm of a large orchestra, baton in hand, guiding the instrumentalists with unassuming but precise authority and expressive, communicative musicianship. Three electrifying moments and the world is forever changed.


A Romeo Castellucci production is always news, it is even bigger news just now in Salzburg where Lithuanian soprano Asmik Grigorian has made her debut as the fifteen year-old Salome. One of the joys of writing regularly — sometimes, just sometimes, I think too regularly — about performance has been the transformation, both conscious and unconscious, of my scholarship. I am not sure I could find much of a connection between the two works on offer here.

The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling. It must not be born! The words “Te saxa Loquuntur” The stones are speaking to you are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents.

In this opera, the characters talk at cross-purposes, hearing without understanding.

Opera Today

The phrase suggests that what might not be explicitly spoken might have much to reveal. In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Frank Castorf might have been born to direct From the Ovieio of the Dead. Should you not like eighteenth-century opera very much, if at all, and should you have no or little interest in Haydn either, this may have been the production for you.

Friends tell me that would have made little difference, yet I cannot know for certain. From heroic knights to adolescent youths, ds don the armour and trousers, and no-one arye an eyelid. The mix of vocal music, arrangements and multiple pieces per half felt like a flashback to the early days of arye Proms, offering eclectic mixes of vocal and instrumental soloists.

The nickname “Symphony of a Thousand” wasn’t Mahler’s choice but the invention of promoters eager to market it as a showpiece. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.

The production is vintage Audi – stylized, austere, nsn solidly thought-through. Let me get right to the point: This is the Rusalka I have been waiting for all my life.

Arte de amar – Publio Ovidio Nasón – Google Books

Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps. The Princeton Festival brings a run of three high-quality opera performances to town amxr summer, alternating between a modern opera and a traditional warhorse. Many of the ingredients for a memorable concert were there, or so they initially seemed to nwsn.

What might have been? What might have been if Stefan Herheim had not changed his Konzept so late in the day? I had actually forgotten about that until reminded during the interval, yet had already began to wonder whether the production had been, especially for him, unusually rushed. There is something very Danish about this Don Giovanni. A blazing performance, formidably dramatic, executed with stunning assurance.

Salonen has made his mark on the Philharmonia through in-depth explorations of the 20th century repertoire he loves so well.

It caused a sensation at its unveiling at the Aix-en-Provence Festival. Alone, tranquil and serene.