As the holiday season arrives, this week also features several high-profile recordings by superstars including a Christmas album that features many classics.

Schubert Lieder 

Countertenor Philippe Jaroussky releases a new album of Schubert Lieder.

In a statement, he said, “Schubert’s music has been with me always, throughout my career as a musician: violinist, pianist, and ultimately singer. This album is a declaration of love, for his genius but also for the German language. I am delighted to rejoin Jérôme Ducros, on this our third album together, and in this program of Lieder we’ve carefully selected.”

Aletheia

Ondine releases Aletheia, choral works by New York-based Lithuanian composer Žibuoklė Martinaitytė. The album features four choral works exploring the direct emotional expression of singing voices without a text. The works are performed by the Latvian Radio Choir under the direction of Sigvards Klava.

Tales of song and sadness

“Tales of Song and Sadness” is released featuring a double tribute commemorating the demise of Frans Brüggen and Louis Andriessen. The recording features the Orchestra of the Eighteenth Century and Cappella Amsterdam, under the direction of Daniel Reuss.

The Christmas Album 

Benjamin Appl continues his collaboration with Alpha Classics celebrating Christmas through the enduring tradition of Bach chorales and popular carols. Appl is joined by Germany’s children’s choir Regensburger Domspatzen, the Munich Radio Orchestra, and his mother on guitar.

In a statement, he said, “Christmas evokes intense memories and emotions in all of us. It takes us back to our childhood: that sense of magic and excitement, so often reawakened by the sight of a traditional Nativity scene, or the lights on a Christmas tree, or by hearing Christmas carols. It was with all these images in mind that I returned to my hometown to record this album with ‘my’ boys’ choir. When, after more than twenty years, I found myself back among the choristers and heard the familiar sound, the emotion was very intense.”

Dark Hymnal

Composer David T. Little releases a brand new album, “Dark Hymnal,” on Cantaloupe Music.

“Dark Hymnal” is a series of electronic “meditations” derived from Little’s opera film “Black Lodge,” and includes samples from the opera’s original soundtrack, performed by Timur and the Dime Museum and Isaura String Quartet and featuring text by librettist Anne Waldman.

In a statement Little says, “As you listen, your ears might deceive you, at times making you think you hear things that aren’t actually there. It might at other times feel as if the music—and the audio—is attempting to crack out of the frames which contain it: sounds throb and push against speaker cones; chords melt, or vanish after merely a hint, their harmonies showing one path, then pivoting toward another, more dangerous, more enticing. Dark Hymnal may feel simultaneously lulling and disconcerting, comforting and perplexing, and even at times, frightening; a work with its spiritual roots in the world of Black Lodge.”

Kris Defoort: The Time of Our Singing

Kris Defoort’s fourth opera is recorded by Claron McFadden, Mark S. Doss, Simon Bailey, and Levy Sekgapane. La Monnaie Chamber Orchestra is conducted by Kwamé Ryan.

Gluck: Iphigénie en Aulide

Alpha Classics releases a new recording of Gluck’s only French opera. The recording stars Judith van Wanroij, Stéphanie d’Oustrac, Cyrille Dubois, Tassis Christoyannis, and Jean-Sébastien Bou. Les Chantres du Centre de musique baroque de Versailles and Le Concert de la Loge is conducted by Julien Chauvin in his first operatic recording.

Jacques Offenbach: La Vie Parisienne

Anne-Catherine Gillet, Véronique Gens, Artavazd Sargsyan, Sandrine Buendia, Marc Mauillon, Jérôme Boutillier, and Pierre Derhet star in this classic Offenabch work. The Orchestre National et Choeur du Capitole de Toulouse is conducted by Romain Dumas. Bru Zane releases.

Choir Concerto

The SWR Vokalensemble is conducted by Yuval Weinberg in music by Alfred Schnittke, Artemy Vedel, and Dmitry Bortniansky. SWR Music releases the album.

Giacomo Puccini: Messa di Gloria

BR Klassik releases Puccini’s work with Tomislav Mužek, and George Petean. Ivan Repušić conducts the Bavarian Radio Chorus and Munich Radio Orchestra.

In a review by OperaWire, Bob Dieschburg said, “The Croatian demonstratively purges the score of the operatic, turning out a surprisingly refined, and lyrical interpretation of this almost-renegade in the Puccini repertory.”

Welcome Joy – A Celebration of Women’s Voices 

Chandos releases Freddie Crowley and his Corvus Consort new album and is joined by harpist Louise Thomson. The album features music by Gustav Holst, Imogen Holst, Elizabeth Poston, Judith Weir, Gemma McGregor, Olivia Sparkhall, Hilary Campbell, and Shruthi Rajasekar.

Puccini: Tosca

C Major releases Puccinio’s timeless thriller from the Arena di Verona. Recorded in June 2023, the work stars Sonya Yoncheva, Vittorio Grigolo, Roman Burdenko, Carlo Bosi, and Giorgi Manoshvili. Francesco Ivan Ciampa conducts the classic production by Hugo de Ana.

Carl Maria von Weber: Der Freischütz

C Major Releases Bregenz Festival’s production of Weber’s famed work. Recorded in July 2024, the opera stars Mauro Peter, Nikola Hillebrand, Christof Fischesser, Katharina Ruckgaber, and Moritz von Treuenfels. Enrique Mazzola conducts Philipp Stölzl’s production.

Verdi: Ernani

Verdi’s early work is released by C Major Entertainment from the Bregenz Festival. Saimir Pirgu, Guanqun Yu, Franco Vassallo, and Goran Jurić star in the recording which was made in August 2023. The Prague Philharmonic Choir and the Wiener Symphoniker are conducted by Enrique Mazzola. Lotte de Beer directs.

Then and Now

American tenor Gregory Kunde releases a new album in which he looks back at the music he first fell in love with as a boy, the pop jukebox standards of the day, delivered by the likes of Sinatra, Bennett, and Darin. Delos releases the new album.

Andrew Lloyd Webber: Requiem & Samuel Barber: Adagio for Strings

BR Klassik releases the live recording from the Herz-Jesu Church in Munich that was made in 2023 as a tribute to the British composer’s 75th birthday. The requiem stars Soraya Mafi, Benjamin Bruns, and Florian Markus/Henrik Brandstetter. Patrick Hahn conducts.

The post Sonya Yoncheva, Benjamin Appl, Philippe Jaroussky, Gregory Kunde & Saimir Pirgu Lead New CD/DVD Releases appeared first on OperaWire.

Puccini’s “Messa di Gloria” is not the unjustly belittled opera in disguise which musicologists, for decades, have made it to be. They objected to the unbefittingly ariose “Gratias agimus,” as well as the mass’ compilatory structure. For a “Mass of Glory,” strictly speaking, only contains the Kyrie and Gloria sections; Puccini, however, adopts all five movements of mass, and intersperses them with some of his nascent genius’ finest melodic inventions. For instance, his “Agnus Dei” would be recycled in the Act two madrigal of “Manon Lescaut.”

Understandably, the “Messa di Gloria” (the title actually seems apocryphal) sparked unease. Yet critics’ relative failure of appreciation stands in sharp contrast with its discographic faring. There is no shortage of good recordings, and only last year did the ever so colorful Gustavo Gimeno (for Harmonia Mundi) add to the growing catalog. Now it is the turn of conductor Ivan Repušić on BR Klassik. The Croatian demonstratively purges the score of the operatic, turning out a surprisingly refined, and lyrical interpretation of this almost-renegade in the Puccini repertory.

“In genere sinfonico”

The album’s main asset is the interpretive malleability of the Münchner Rundfunkorchester who treat each segment as its own, symphonic Satz. The colors are invariably changing, and while the tempi are nearly identical to Pappano’s rather boldly fashioned reading from 2001, Repušić relinquishes any too melodramatic edge in favor of a remarkably homogeneous, and – for want of a better word – Germanic orchestral facture. For instance, the strings transitioning into the majestic “Quoniam tu solus sanctus” have never had more lyrical agency than here. The choir also does not erupt like in Verdi’s “Requiem;” it softly builds instead of grafting itself on the playing of the orchestra.

Puccini’s affinities therefore clearly point towards a transalpine way of composing music, even though this juvenile predilection – if such it is – only persists until the creation of “Le Villi;” after 1884, his self-proclaimed “genere sinfonico” (symphonic genre) is gradually being displaced.

Condensed Lyricism

The soloists occupy a strangely ambivalent position in the “Messa.” Yet in keeping with his holistic approach, Repušić embeds them in a firmly set vision in which there is little to no room for digressions into the overly operatic. For example, he imparts a crisp time on the notorious “Gratias agimus,” situating the tenor part of Tomislav Mužek at opposite ends of the pompous 1984 recording by Claudio Scimone. Even the “Agnus Dei” (with the excellent George Petean) feels like a genuinely spirited coda rather than the somewhat disjunct appendage from earlier releases.

As is customary, the program is rounded off by the threnodial “Crisantemi” (arranged by the distinguished Lucas Drew), and Puccini’s very imposing, if eclectic “Preludio sinfonico.” The latter knowingly borrows from Wagner, and is interpreted with some unexpected symphonic roundness. I personally prefer the bold sweeps from Pappano; but for the mass itself, Repušić’s unrelentingly soft lyricism stands without competition. It is the most harmonious version yet, and for its radical novelty deserves every attention.

The post CD Review: BR Klassik’s ‘Messa di Gloria’ appeared first on OperaWire.

Giuseppe Verdi’s “I vespri siciliani” recounts the story of a historical revolution: the uprising of the Sicilian people against their French rulers in 1282, leading to the liberation of the island from their occupation. The political narrative is intertwined with the personal lives of the main characters. Duchess Elena, whose brother was killed by the French, seeks vengeance with the help of the young hero Arrigo. In true feuilleton style, Arrigo turns out to be the long-lost son of Monforte, the French ruler of Sicily and the opera’s villain.

Calixto Bieito is Calixto Bieito

None of this was discernible on the Zurich Opernhaus stage. Director Calixto Bieito chooses a setting outside of time and space. The sets, designed by Aída-Leonor Guardia, feature a black space filled with shipping containers that open to represent various rooms and enclosed spaces. The costumes by Ingo Krüler are modern: the French occupiers, all men, wear suits, while the Sicilians are dressed in simple black outfits. None of the visuals seem connected to the plot, and the reason is clearly explained by Bieito in the program. He relies on personal images from his childhood experiences, resulting in a navel-gazing production—a solipsistic exercise that is difficult for anyone else to relate to.

The main focus seems to be violence against women. Exploiting the libretto’s reference to the rape of the Sabine women by the Romans, and the occupiers’ ensuing violence against three brides during their wedding party, Bieito fills the show with images of women being attacked, forcibly undressed, violated, dragged by ropes around their necks, carried like packages, killed, and their bleeding bodies hung from the ceiling. It was ghoulish. There is a clear line between denouncing violence against women and indulging in the display of sexually humiliated women on stage under the guise of denouncing such violence. In this production, Bieito seems to have definitely crossed that line.

Cast Highlights and Lowlights

Maria Agresta portrayed Duchess Elena with a full-bodied soprano that conveyed significant drama. While her high notes were sometimes forced, her lyrical passages were more successful. She seemed to lose steam as the evening progressed, which is understandable given the taxing nature of the role. In the famous bolero “Mercé, dilette amiche” near the end of the opera, she struggled with some of the very high notes, which she didn’t quite reach. Nevertheless, her interpretation was deeply committed and convincing. In the first two acts, she was seen dragging her brother’s coffin around the stage, with her character growing increasingly strong and determined.

Her lover Arrigo was portrayed by Sergey Romanovsky, whose strong and dark tenor verged on the “bari-tenor” range. His high notes were remarkably easy and powerful, supported by impeccable technique. It is common for tenors to sound tired and not at their best in the final act of the opera, but during the final trio with Agresta and bass Alexander Vinogradov, Romanovsky delivered some of the evening’s best high A’s and B flats on “Dunque addio, beltà fatale,” conveying all the desperation of his betrayed love.

In this production, Arrigo was depicted as a weak, insecure young man. He moved very little and didn’t interact with the other characters, except to explode in a fit of violence against Monforte when he discovered he was his father. This portrayal didn’t align well with either Romanovsky’s voice or his stage presence, which both channeled a “noble, reckless young hero,” resulting in a mixed effect not through any fault of the singer. However, the love duet between Romanovsky and Agresta in Act four, “È dolce raggio,” was one of the highlights of the evening.

Monforte, the villain of the opera and Arrigo’s secret father, was portrayed by Quinn Kelsey with a strong, well-projected baritone. However, he seemed to have some issues with vocal emission, as his voice appeared disorganized at times, with inconsistent notes and vowels, which negatively affected his legato and phrasing. Despite this, he showcased a good, elegant mezza-voce, and his interpretation was committed and believable, particularly in the villainous aspects. Monforte’s newly found fatherly love is always difficult to reconcile with such a dark character, and the production did not aid in resolving this complexity.

Giovanni da Procida, an activist, zealot, and organizer of the revolt against the French, was portrayed by Alexander Vinogradov, whose bass voice was exceptionally powerful and imposing. He was the most acclaimed singer of the evening by the Zurich audience, delivering his famous aria “O tu, Palermo” with deep emotional involvement. Although his voice occasionally lost its elegance, with the booming quality of his bass overpowering the phrasing and a tendency to sing everything in the forte range, he successfully conveyed the fanatical intensity of Procida’s political fervor.

Several “minor” characters completed the cast, portraying various officers of the French army and French aristocrats. Jonas Jud, Brent Michael Smith, Raúl Gutiérrez, Omer Kobiljak, Stanislav Vorobyov, and Maximilian Lawrie all delivered strong performances, both musically and dramatically. These characters remained on stage for most of the performance, actively participating in the action even when they were not singing.

Loud Conducting

Conductor Ivan Repušić led the Philharmonia Zurich with vigor, perhaps too much. An intimate theater like the Zurich opera house would benefit more from a nuanced, detailed interpretation of Verdi’s magnificent score. However, the musical performance was generally very loud, both in the pit and on stage. While the orchestra’s sound was beautiful and rich, with particularly remarkable brass sound, the overall interpretation did not seem particularly Verdian.

The chorus, which plays a significant role in this opera, was highly appreciated for its good taste and precise rhythm. The singers mostly stood immobile in formation on stage, contributing to the sense of alienation conveyed by this production. It was only at the end, when the revolt began, that they became animated, running to the front of the stage with loud cries of “Vendetta!” while the French officers, not the Sicilians, violently assaulted Monforte with punches and kicks. The reason for this choice, as for all the others, was not clear.

The post Opernhaus Zürich 2023-24 Review: I vespri siciliani appeared first on OperaWire.

Premieres

Respighi’s “La Fiamma” will be directed by Christof Loy and conducted by Carlo Rizzi. The cast will include Aušrine Stundyte, Georgy Vasiliev, Vladislav Sulimsky, Martina Serafin, Sua Jo, Cristina Toledo, Martina Baroni, Karis Tucker, Caren Van Oijen, Doris Soffel, and Patrick Guetti.

Performance Dates: Sept. 29-Oct. 18, 2024

Enrique Mazzola conducts a new production of Verdi’s “Macbeth” with Marie-Ève Signeyrole directing. The production will star two casts led by Roman Burdenko and Thomas Lehman in the title role and Anastasia Bartoli and Felicia Moore as Lady Macbeth. The cast will be rounded out by Marko Mimica, Byung Gil Kim, Attilio Glaser, and Andrei Danilov.

Performance Dates: Nov. 23, 2024-Jan. 25, 2025

Tobias Krazter directs a new production of Strauss’ “Die Frau ohne Schatten.” The opera will star David Butt Philip, Jane Archibald, Marina Prudenskaya, Jordan Shanahan, and Catherine Foster. Sir Donald Runnicles conducts.

Performance Dates: Jan. 26-Feb. 11, 2025

Donizetti’s “Lucia di Lammermoor” will star Dean Murphy, Markus Brück, Serena Sáenz, Hila Fahima, Adela Zaharia, Andrei Danilov, Long Long, Gerard Farreras, and Byung Gil Kim. Matteo Beltrami and Ivan Repušić conduct.

Performance Dates: Oct. 31-Dec. 18, 2024

Mozart’s “The Fairy Tale of the Magic Flute” will star Alexandra Oomens, Lilit Davtyan, Hye-Young Moon, Chance Jonas-O’Toole, Kangyoon Shine Lee, Andrew Harris, and Patrick Guetti. Friedrich Praetorius conducts.

Performance Dates: Nov. 22, 2024-April 15, 2025

Elena Stikhina and Sondra Radvanovsky star in Puccini’s “Tosca” alongside Martin Muehle, Fabio Sartori, Lucio Gallo, and Erwin Schrott. Giampaolo Bisanti and Valerio Galli conduct.

Performance Dates: Nov. 6, 2024-June 19, 2025

Zemlinsky’s “Der Zwerg” will be conducted by Sir. Donald Runnicles and will star Elena Tsallagova, Felicia Moore, David Butt Philip, and Philipp Jekal.

Performance Dates: Dec. 1-10, 2024

Alessandro De Marchi conducts Rossini’s “Il Viaggio a Reims” with Lilit Davtyan, Stephanie Wake-Edwards, Hye-Young Moon, Hulkar Sabirova, Kangyoon Shine Lee, Omar Mancini, Joel Allison, Artur Garbas, Philipp Jekal, Kyle Miller, Padraic Rowan, Chance Jonas-O’Toole, Alexandra Ionis, Alexandra Oomens, Davia Bouley, and Jared Werlein. 

Performance Dates: Dec. 27, 2024-Jan. 6, 2025

Janáček’s “The Cunning Little Vixen” will star Joel Allison, Geon Kim, Meechot Marrero, Alexandra Oomens, Arianna Manganello, and Martina Baroni. Marko Letonja conducts.

Performance Dates: Dec. 19, 2024-Jan. 5, 2025

Karis Tucker, Annika Schlicht, Meechot Marrero, and Nina Solodovnikova lead Humperdinck’s “Hansel and Gretel” with Burkhard Ulrich, Patrick Cook, Artur Garbas, and Maria Motolygina. Friedrich Praetorius conducts.

Performance Dates: Dec. 13-28, 2024

Sir. Donald Runnicles and Friedrich Praetorius lead Puccini’s “La Boheme” with Andrei Danilov, Attilio Glaser, Kyle Miller, Philipp Jekal, Dean Murphy, Geon Kim, Patrick Guetti, Byung Gil Kim, Maria Motolygina, Elena Tsallagova, Alexandra Oomens, and Nina Solodovnikova.

Peformance Dates: Dec. 6-31, 2024

Andrei Danilov, Etienne Dupuis, Juan Jesús Rodríguez, Brenda Rae, and Hye-Young Moon star in Verdi’s “Rigoletto” with Patrick Guetti, Tobias Kehrer, Stephanie Wake-Edwards, and Lindsay Ammann. Michele Spotti, Friedrich Praetorius, and Giulio Cilona conduct.

Performance Dates: Jan. 10-June 6, 2025

Petr Popelka and Sir. Donald Runnicles conduct “Tristan und Isolde” with a cast that includes Clay Hilley, Albert Pesendorfer, Georg Zeppenfeld, Derek Welton, Ricarda Merbeth, Stéphanie Müther, Thomas Lehman, Leonardo Lee, Jörg Schörner, Irene Roberts, and Annika Schlicht.

Performance Dates: Oct. 27, 2024-Jan. 18, 2025

Saioa Hernández stars in Puccini’s “Turandot” with Clay Hilley, Sua Jo, Maria Motolygina, and Byung Gil Kim. Jordan de Souza conducts.

Performance Dates: Feb. 1-14, 2025

Wagner’s “Der Fliegende Holländer” will star Derek Welton and Anthony Clark Evans alongside Patrick Guetti, Gabriela Scherer, Flurina Stucki, Attilio Glaser, Kieran Carrel, Stephanie Wake-Edwards, Chance Jonas-O’Toole, and Andrei Danilov. John Fiore and Giulio Cilona conduct.

Performance Dates: Feb. 16-April 26, 2025

Thomas Lehman, Padraic Rowan, Karis Tucker, Elissa Pfaender, Davia Bouley, Alfred Kim, Heidi Stober, and Hye-Young Moon star in John Adams’ “Nixon in China.” Daniel Carter conducts the masterwork.

Performance Dates: Feb 28-March 5, 2025

Olesya Golovneva stars in Strauss’ “Salome” with Thomas Blondelle, Evelyn Herlitzius, Jordan Shanahan, and Kieran Carrel. Keri-Lynn Wilson conducts.

Performance Dates: March 8 & 14, 2025

Strauss’ “Elektra” will star Violeta Urmana, Elena Pankratova, Camilla Nylund, Burkhard Ulrich, and Tobias Kehrer. Thomas Søndergard conducts.

Performance Dates: March 22-April 1, 2025

Strauss’ “Arabella” will star Albert Pesendorfer, Doris Soffel, Jennifer Davis, Heidi Stober, Thomas Johannes Mayer, and Sean Panikkar. Sir. Donald Runnicles conducts.

Performance Dates: March 7-20, 2025

Sir. Donald Runnicles conducts Strauss’ “Intermezzo” with Philipp Jekal, Maria Bengtsson, Elliott Woodruff, Anna Schoeck, Thomas Blondelle, and Clemens Bieber.

Performance Dates: March 13-23, 2025

Wagner’s “Die Meistersinger von Nürnberg” will star Thomas Johannes Mayer, Albert Pesendorfer, Magnus Vigilius, Chance Jonas-O’Toole, Elena Tsallagova, and Annika Schlicht. Ulf Schirmer conducts.

Performance Dates: April 12-27, 2025

Attilio Glaser takes on the title role of Wagner’s “Lohengrin” with Flurina Stucki, Jordan Shanahan, Nina Stemme, Dean Murphy, and Byung Gil Kim. Ivan Repušić conducts.

Performance Dates: April 6-20, 2025

Rued Langgaard’s “Antikrist” will star Kyle Miller, Jonas Grundner-Culemann, Maria Vasilevskaya, Arianna Manganello, Thomas Cilluffo, Martina Baroni, Flurina Stucki, and Thomas Blondelle. Stephan Zilias conducts.

Performance Dates: April 24 & May 2, 2025

Verdi’s “Les Vêpres Siciliennes” will be conducted by Dominic Limburg and stars Hulkar Sabirova, Valentyn Dytiuk, George Petean, and Roberto Tagliavini.

Performance Dates: May 18-31, 2025

Daniel Okulitch, Georgia Jarman, Aryeh Nussbaum Cohen, Anna Werle, and Thomas Blondelle star in George Benjamin’s “Written on Skin” with Marc Albrecht conducting.

Performance Dates: May 4-20, 2025

Paolo Arrivabeni conducts Verdi’s “Nabucco” with Juan Jesús Rodríguez, Amartuvshin Enkhbat, Jorge Puerta, Liang Li, Ewa Płonka, and Karis Tucker.

Performance Dates: May 10-23, 2025

Jonathan Tetelman leads a star-studded cast for Verdi’s “Don Carlo” with Alex Esposito, Gihoon Kim, Patrick Guetti, Federica Lombardi, and Irene Roberts. Sir. Donald Runnicles conducts.

Performance Dates: May 8-29, 2025

Verdi’s “Aida” will star Tobias Kehrer, Judit Kutasi, Hulkar Sabirova, SeokJong Baek, Byung Gil Kim, and George Petean. Paolo Arrivabeni conducts.

Performance Dates: May 3-22, 2025

Tchaikovsky’s “The Queen of Spades” will star Brian Jagde, Sara Jakubiak, Jennifer Larmore, Lucio Gallo, Thomas Lehman, and Karis Tucker. Juraj Valčuha conducts.

Performance Dates: June 21-29, 2025

Gregory Kunde, Pavel Yankovsky, and Sondra Radvanovsky star in Giordano’s “Andrea Chenier.” Axel Kober conducts.

Performance Dates: May 30-June 7, 2025

Mozart’s “Die Zauberflote” will showcase several casts with Tobias Kehrer, Patrick Guetti, Andrei Danilov, Kieran Carrel, Kangyoon Shine Lee, Matthew Newlin, Attilio Glaser, Markus Brück, Padraic Rowan, Michael Bachtadze, Joel Allison, Hye-Young Moon, Lilit Davtyan, Nina Solodovnikova, Hye-Young Moon, Alexandra Oomens, Sua Jo, Philipp Jekal, Artur Garbas, Chance Jonas-O’Toole, Burkhard Ulrich, and Thomas Cilluffo. Petr Popelka and Sir. Donald Runnicles conduct.

Performance Dates: Sept. 15, 2024-July 12, 2025

“Emersion” will showcase Flurina Stucki and Geon Kim.

performance Dates: July 11-13, 2025

Playground Festival will see the Deutsche Oper Berlin transformed into a techno club.

Performance Date: July 19, 2025

Concerts 

Sir. Donald Runnicles conducts a program of Verdi, Respighi, and Nono. The concert includes soloists Lilit Davtyan, Thomas Cilluffo, Federica Lombardi, and Roberto Alagna.

Performance Date: Sept. 10, 2024

Arianna Manganello, Andrei Danilov, and Nina Solodovnikova perform Italian songs alongside John Parr.

Performance Date: Oct. 22, 2024

There will be a Festive opera night for the German Aids Foundation.

Performance Date: Nov. 2, 2024

Hye-Young Moon and Christine Buffle sing Ravel and Strauss with John Parr.

Performance Date: Feb. 4, 2025

Maxime Pascal and Marianne Crebassa lead a program of music by Rimsky-Korsakov and Ravel.

Performance Date: Feb. 10, 2025

Lilit Davtyan, Chance Jonas-O’Toole, and Jared Werlein perform Haydn and Mozart with John Parr.

Performance Date: April 23, 2025

Flurina Stucki, Artur Garbas, Kieran Carrel, and John Parr perform Strauss.

Performance Date: May 7, 2025

The post Jonathan Tetelman, Aigul Akhmetshina, Aušrine Stundyte, David Butt Philip & Sondra Radvanovsky lead Deutsche Oper Berlin’s 2024-25 Season appeared first on OperaWire.

The company said that Jennifer Rowley will sing the title role replacing Aleksandra Kurzak.

The soprano has performed the role at the Metropolitan Opera, New Orleans Opera, Philadelphia Orchestra, Semperoper Dresden, and Opera de Marseille, among others.

In a statement, the soprano said, “I am thrilled to be jumping in again at the Staatsoper Berlin tomorrow night in my signature role of Tosca!! A little over a year ago, I jumped into their gorgeous production of Il Trovatore and when the call came to return, I was overjoyed! This time I have a bit more notice and a bit more rehearsal! I can’t wait to share the stage with my friends Joseph Calleja and Ambrogio Maestri tomorrow night in Berlin!”

The performance will be conducted by Ivan Repušić. Kurzak returns to the production on April 7, 2024.

The post Staatsoper Unter den Linden Announces Cast Change for ‘Tosca’ appeared first on OperaWire.

Premieres

Bach’s “Amadis, der Ritter” is set to star Matthias Stier, Daniel Arnaldos, Olga Jelínková, Samantha Gaul, Sarah Traubel, Olena Tokar, Franz Xaver Schlecht, Jonathan Michie, Jonathan Michie, Gabrielė Kupšytė, Nora Steuerwald, and Franziska Zwink.

Performance Dates: Sept. 21, 2024-June 15, 2025

Daniele Squeo conducts Bellini’s “Norma” with a cast that includes Dominick Chenes, Yorck Felix Speer, Randall Jakobsh, Roberta Mantegna, and Kathrin Göring. Anthony Pilavachi directs the production.

Performance Dates: Dec. 1, 2024-Jan. 24, 2025

Rossini’s “Il viaggio a Reims” will be directed by Daisy Evans and will be conducted by Matthias Foremny. The cast includes Olena Tokar, Sarah Traubel, Gabrielė Kupšytė, Olga Jelínková, Franziska Krötenheerdt, Samantha Gaul, Daniel Arnaldos, Anton Rositskiy, Giorgi Manoshvili, Sejong Chang, Peter Dolinšek, Jonathan Michie, Franz Xaver Schlecht, and Nora Steuerwald.

Performance Dates: March 15-April 19, 2025

Anna Skryleva conducts a new production of Tcahikovsky’s “Pique Dame” by Lorenzo Fioroni. The cast includes Brenden Gunnell, Tuomas Pursio, Mathias Hausmann, Ulrike Schneider, Solen Mainguené, and Nora Steuerwald.

Performance Dates: May 10-June 7, 2025

Revivals 

Verdi’s “La Traviata” will be conducted by Christoph Gedschold and Yura Yang. Sarah Traubel, Olga Jelínková, Matthias Stier, Ovidiu Purcel, Mathias Hausmann, and Franz Xaver Schlecht star.

Performance Dates: Sept. 8, 2024-March 2, 2025

Christoph Gedschold conducts Wagner’s “Der Fliegende Hollander” with a cast that includes Martina Welschenbach, Ulrike Schneider, Ólafur Sigurdarson, Derrick Ballard, Yorck Felix Speer, and Brenden Gunnell.

Performance Dates: Sept. 15-Oct. 20, 2024

Barno Ismatullaeva, Kathrin Göring, Carlos Cardoso, and Mathias Hausmann star in Puccini’s “Madama Butterfly” with Matthias Foremny and Christoph Gedschold conducting.

Performance Date: Sept. 27-Oct. 31, 2024

Yura Yang conducts Mozart’s “Die Zauberflöte” with Randall Jakobsh, Yorck Felix Speer, Matthias Stier, Maximilian Mayer, David Fischer, Mathias Hausmann, Tuomas Pursio, Ylva Stenberg, Olena Tokar, and Samantha Gaul.

Performance Dates: Oct. 12, 2024-April 25, 2025

Karine Babajanyan sings the title role of Bizet’s “Carmen” with Solen Mainguené, Irakli Kakhdize, and Bogdan Baciu. Matthias Foremny conducts.

Performance Dates: Nov. 1-16, 2024

Samuel Emanuel conducts Humperdinck’s “Knusper, Knusper, Knäuschen” in a production by Gundula Nowack. 

Performance Dates: Nov. 21, 2024-Feb. 12, 2025

Humperdinck’s “Hansel and Gretel” will star Ulrike Schneider,  Kathrin Göring, Gabrielė Kupšytė, Samantha Gaul, Olena Tokar, Einar Dagur Jónsson, and Dan Karlström.

Performance Dates: Dec. 13-27, 2024

Liana Aleksanyan stars in Puccini’s “Tosca” with Andrea Shin, Irakli Kakhdize, and Ólafur Sigurdarson. Christoph Gedschold conducts.

Performance Dates:  Jan. 4-April 5, 2025

Constantin Trinks conducts Wagner’s “Siegfried” with a cast that includes Ulrike Schneider, Ricarda Merbeth, Samantha Gaul, Thomas Mohr, Dan Karlström, James Rutherford, Simon Neal, Markus Marquardt, Tuomas Pursio, and Randall Jakobsh.

Performance Dates: Jan. 11-March 30, 2025

Xavier Moreno, Ivan Inverardi, Matthias Stier, Solen Mainguené, and Kathrin Göring star in Verdi’s “Otello.” Ivan Repušić conducts.

Performance Dates: Jan. 18-Feb. 15, 2025

“SUMM, SUMM, SUMM – MEIN ERSTES KONZERT” will be presented.

Performance Dates: Jan. 25 & 27, 2025

Wagner’s “Das Rheingold” will be conducted by Matthias Foremny and will star Kathrin Göring, Solen Mainguené, Sarah Traubel, Ulrike Schneider, Olga Jelínková, Gabrielė Kupšytė, Nora Steuerwald, Nicholas Brownlee, Tuomas Pursio, Mathias Hausmann, Einar Dagur Jónsson, Thomas Mohr, Yorck Felix Speer, Randall Jakobsh, Kay Stiefermann, and Dan Karlström

Performance Dates: Feb. 7 & March 29, 2025

Yura Yang conducts Weber’s “Der Freischütz” with a cast that includes Sarah Traubel, Samantha Gaul, Verena Hierholzer, Tuomas Katajala, Derrick Ballard, and Tuomas Pursio.

Performance Dates: Feb. 14-April 20, 2025

Dara Hobbs stars in Strauss “Salome” with Ulrike Schneider, Nora Steuerwald, Brenden Gunnell, and Tuomas Pursio. Matthias Foremny conducts.

Performance Dates: March 22 & April 13, 2025

Leonard Evers’ “Gold” will be directed by Christina Geißler and will star Nora Steuerwald, Dirk Richter, Levin Fischer, and Sebastian Linz.

Performance Dates: March 26-April 13, 2025

Christoph Gedschold conducts Mozart’s “Don Giovanni” with Jonathan Michie, Yorck Felix Speer, Sarah Traubel, Josh Lovell, Kathrin Göring, Sejong Chang, Peter Dolinšek, and Samantha Gaul.

Performance Dates: April 4-June 21, 2025

Christina Geißler directs “Amadeus Musikus.” Franz Xaver Schlecht stars.

Performance Dates: May 7-14, 2025

Lortzing’s “Undine” will star Olena Tokar, Matthias Stier, Joseph Dennis, Jonathan Michie, Mathias Hausmann, Sejong Chang, Peter Dolinšek, Kathrin Göring, Karin Lovelius, Olga Jelínková, Sarah Traubel, Sven Hjörleifsson, and Dan Karlström. Yura Yang conducts.

Performance Dates: May 18-June 8, 2025

Dmitry Belosselskiy, Matthias Stier, Kristine Opolais, Pavel Černoch, Dan Karlström, Liam James Karai, Sven Hjörleifsson, and Franz Xaver Schlecht star in Shostakovich’s “Lady Macbeth of Mtsensk.” Andris Nelsons conducts the work.

Performance Dates: May 25 & 29, 2025

Samuel Emanuel conducts the Orchester Gewandhausorchester in Lauschkonzert.

Performance Dates: June 5-8, 2025

Solen Mainguené, Yorck Felix Speer, Gabrielė Kupšytė, Mathias Hausmann, and Samantha Gaul star in Strauss’ “Der Rosenkavalier.” Christoph Gedschold conducts.

Performance Dates: March 30-June 29, 2025

The post Kristine Opolais, Karine Babajanyan, Olena Tokar & Nicholas Brownlee Lead Oper Leipzig’s 2024-25 Season appeared first on OperaWire.

For the first edition of the year, we look at the first releases of 2024. This week we get a new album by a leading tenor and a remastering of a legendary recording conducted by the composer himself.

Out of the Ashes

Navona releases the USD Chamber Singers and Dr. David Holdhusen’s new album. The CD will include a collection of beloved choral works including Biebl’s “Ave Maria,” Hogan’s “Ain’t That Good News,” and Whitacre’s “Sleep.”

End of My Days

Bis releases Ruby Hughes and Manchester Collective’s new album. The title of this album, “End of My Days,” comes from Errollyn Wallen’s song; a resounding celebration of life that embraces death without regret or sadness but with great verve and acceptance. The album also includes music by Brian Elias, Caroline Shaw, Ralph Vaughan Williams, John Tavener, John Dowland, Maurice Ravel: Kaddisch, Claude Debussy, and Gustav Mahler.

Giacomo Puccini – I Canti: Orchestral Songs & Works

Charles Castronovo joins the Münchner Rundfunkorchester and Ivan Repušić for 16 songs published during Puccini’s lifetime. The album was Recorded in early February 2023.

Britten: War Requiem

Decca rereleases Britten’s recording with the London Symphony Orchestra which was recorded between January 3 and 10, 1963, in London’s Kingsway Hall by Decca’s ‘dream team’ of producer John Culshaw and engineer Kenneth Wilkinson.

Galina Vishnevskaya, Peter Pears, and Dietrich Fischer-Dieskau are the soloists on the legendary album.

The post Charles Castronovo, Benjamin Britten & Galina Vishnevskaya Lead New CD/DVD Releases appeared first on OperaWire.

This week audiences will experience albums from some of the top divas in the opera world as well as Christmas albums that will be great for the holiday season.

Essence

Marina Rebeka releases a new album on Prima Classic. The soprano sings a selection of the best opera arias of all time along the Wrocław Opera Orchestra under the baton of Marco Boemi.

The record includes selections from “Madama Butterfly,” “La Rondine,” “Tosca,” “La Bohème,” “Gianni Schicchi,” “Mefistofele,” “Adriana Lecouvreur,” “Pique Dame,” “La Mamma Morta,” “Pagliacci,” “Rusalka”, and “La Wally.”

Mahler – Scartazzini Cycle

Swiss composer Andrea Lorenzo Scartazzini continues his Composer-in-Residence with the Jena Philharmonic. Scartazzini has been writing a new companion piece to each of Gustav Mahler’s symphonies, which are being performed in Jena as a cycle in chronological order: Mahler – Scartazzini Cycle.

This second volume of the series features Mahler’s Second and Third Symphonies, the Second preceded by Scartazzini’s orchestral Torso and Epitaph and the Third by Spiriti. Jana Baumeister, Evelyn Krahe, and Ida Aldrian perform on the album.

Handel: Messiah

John Nelson records Handel’s Messiah for Erato.

In a statement, Nelson notes, “A lifetime of performing Messiah has brought me enough courage to record this singularly famous piece of music. With the finest musicians and soloists on the planet surrounding me, I’m finally ready to lay down my personal interpretation for posterity.”

The performance is released as a three-disc set, comprising the audio version (2 CDs) and the video (1 DVD). The English Concert is led by Nelson with soloists soprano Lucy Crowe, countertenor Alex Potter, tenor Michael Spyres, and bass Matthew Brook.

Operette: Wein, Berlin & Paris

Soprano Diana Damrau releases a new album that tours three capital cities of operetta, Vienna, Berlin, and Paris.

In the new CD, she sings arias, duets, and a trio from operetta with tenor Jonas Kaufmann. Among the composers on the album are Johann Strauss II, Franz Lehir, Emmerich Kálmán, Robert Stolz, Paul Abraham, André Messager, Henri Christiné, Oscar Straus and Francis Lopez. The Münchner Rundfunkorchester is conducted by Ernst Theis.

Mending Wall

The PRISM Quartet releases its newest album, Mending Wall on XAS Records. The album includes soprano Tony Arnold and pianist Arturo O’Farrill in world premiere performances of “Mending Wall,” a fully staged concert exploring the meaning of walls in our world by giving musical form to questions about identity, community, division, and freedom.

The recording features the music of Martin Bresnick, George Lewis, Arturo O’Farrill, and Juri Seo.

Hymn of the Universe

Composer Tina Davidson releases her newest album on Meyer Media LLC.

“Hymn of the Universe” follows the publication earlier this year of Davidson’s memoir “Let Your Heart Be Broken (Boyle & Dalton)” and includes three of her choral works, “Antiphon for the Virgin,” “Hymn of the Universe,” and “Tu Autem, Domine” and features VocalEssence Singers conducted by Philip Brunelle in the first two works and the Society for Universal Sacred Music led by Roger Davidson in Tu Autem, Domine.

Tapestry of Voices

Mahler’s 8th Symphony

Mahler’s 8th Symphony, the “Symphony of a Thousand,” is one of the most ambitious choral symphonies that exists today. The Minnesota Orchestra, four choirs, and the seven vocal soloists performed Mahler’s Eighth Symphony in concerts in June 2022, the largest-scale performance ever conducted at Minnesota’s Orchestra Hall, and the last performance Osmo Vänskä led as music director of the Minnesota Orchestra. The album was recorded live and over a series of recording sessions the week following the concerts.

Internationalized Globalization

Ophelia’s Aria

Mario Bergmann releases a new music video featuring soprano Polly Ott and pianist Chelsey Padilla. The video showcases “À vos jeux, mes amis…” Ophelia’s Aria from Hamlet.

Wagner: Die Meistersinger von Nürnberg

Naxos releases the Deutsche Oper Berlin’s production of Wagner’s epic with a cast that includes Klaus Florian Vogt, Heidi Stober, Johan Reuter, Philipp Jekal, Albert Pesendorfer, and Ya-Chung Huang. John Fiore conducts the recording from 2022.

Rimsky-Korsakov: Christmas Eve

Naxos releases Rimsky-Korsakov’s rarely performed work with a cast that includes Julia Muzychenko, Enkelejda Shkoza, Andrei Popov, Georgy Vasiliev, and Alexey Tikhomirov. The Chor der Oper Frankfurt and the Frankfurter Opern is conducted by Sebastian Weigle.

Verdi: I Lombardi alla prima Crociata

Ivan Repušić’s successful cycle of early Verdi masterpieces on BR-Klassik continues with the rarely performed “I Lombardi.” He conducts a cast that includes Nino Machaidze, Réka Kristóf, Piero Pretti, Galeano Salas, Miklós Sebestyén, Michele Pertusi, Ruth Volpert, and Andreas Burkhart.

1929: The Wild Sound of the Twenties

On October 29, 1923, in the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the “Berliner Funkstunde.” Radio offered entirely new possibilities for the production and reception of music, and the two compositions on this CD both benefited from the advent of that medium. Hanns Eisler’s cantata Tempo der Zeit for soloists, narrator, choir, winds, and percussion was written as a commission for the Donaueschingen Festival. Ruth Volpert, Christopher Dollins, Clemens Nicol, and Tomasz Tomaszewski join the Madrigal Choir of the University of Music and Performing Arts, and Münchner Rundfunkorchester under Ernst Theis. BR Klassik releases.

but I like to sing…

English soprano Carolyn Sampson releases a new album featuring well-known and lesser-known lieder by German and Austrian masters such as Schubert, Mendelssohn, Brahms, Richard Strauss, and Hugo Wolf with French songs by Gounod, Poulenc, and Franck, as well as works by Anglo-Saxon composers such as Hubert Parry, Samuel Barber and Ivor Gurney. Female composers include Cheryl Frances-Hoad, the recently deceased Kaija Saariaho and Deborah Pritchard. Joseph Middleton and Jack Liebeck accompany the soprano.

Enigma

Sarah Aristidou, Daniel Arkadij Gerzenberg, and Jörg Widmann’s new album that explores the mystery of verbal communication, seeking an “original” sound as primordial as the cry of a newborn baby or the last sigh of a dying person. The album includes Andreas Tsiartas’s “Lamento Turco,” Rachmaninoff’s “Vocalise,” Schubert’s “Der Hirt auf dem Felsen,” and music by Wolf and Ravel.

Rued Langgaard: Songs

Louise McClelland Jacobsen and Kristian Riisager record Rued Langgaard’s songs, many of which are being recorded for the first time. The album also includes the collection “Russian Songs,” set to adaptations of Ukrainian poetry.

Krzysztof Penderecki: Sacred Choral Works

The Latvian Radio Choir under Sigvards Kļava record an album that celebrates the 90th anniversary of the birth of celebrated Polish composer Krzysztof Penderecki.

Arianna Savall, Petter Udland Johansen: El Cant de la Sibil.la & Draumkvedet

Hirundo Maris, an ensemble founded in 2009 by Arianna Savall and Peter Udland Johansen, specializes in early music from the Middle Ages to the Baroque as well as the Savall and Johansen’s compositions, performs two mystical chants from the Middle Ages on this recording.

An Evening of Readings and Carols

The Westminster Chapel Choir, Westminster Concert Bell Choir, Westminster Jubilee Singers, and Westminster Symphonic Choir release a recording that documents the Christmas 2023 broadcast from Westminster Choir College, seen on 300 PBS stations around the United States and marking the institution’s 30th Anniversary. Released on the GIA Choral Works label, the 25-track double album encompasses a wide variety of styles, including traditional Christmas carols, light classical selections, contemporary gospel songs, and new arrangements of favorite tunes.

The post Marina Rebeka, Diana Damrau & Nino Machadize Lead New CD/DVD Releases appeared first on OperaWire.

Repušić is a Croatian conductor who is Chief Conductor of the Munich Radio Orchestra and the first permanent guest conductor of the Deutsche Oper Berlin. He is also the Chief Conductor of the Zadar Chamber Orchestra.

He has recorded for BR-Klassik, CPO, and Warner Classics.

In a statement via social media, the company said, “Welcome to Oper Leipzig, Ivan Repušić! We look forward to welcoming our future General Music Director: the Croatian conductor will start working in the season 2025-26. He will already conduct ‘Die Zauberflöte’ as a guest on 29.11.23 and take over the musical direction of the revival of ‘Otello’ in the season 2024-25.”

The post Oper Leipzig Names New Music Director appeared first on OperaWire.

The company said that due to Michael Volle’s illness, Egils Silins will take over the title role in Wagner’s opera.

Silins is one of the most sought-after bass-baritones of our time who has sung more than 90 roles in the German, French, Italian, and Russian repertoire. He is well known for “The Flying Dutchman,” Wotan and Wanderer in The Ring Cycle, Klingsor and Amfortas in “Parsifal,” Jochanaan in “Salome” and Barak in “Die Frau ohne Schatten.”

He joins a cast that includes Elisabeth Teige, Robert Watson, Lauren Decker, and Tobias Kehrer. Ivan Repušić conducts the production by Christian Spuck.

The post Deutsche Oper Berlin Announces Cast Change for ‘The Flying Dutchman’ appeared first on OperaWire.