Jette Parker Young Artists Summer Concert
The Royal Opera, 17th July 2010, Antony Lias
The annual Jette Parker Young Artists summer concert at The Royal Opera is a must see event for all those who enjoy
talent-spotting and watching the future generation of opera stars mature and become prepared for a life on the stage. The diversity of talent on display is very encouraging, with those singers who are about to “graduate” from the programme joining those who have just completed the end of their first year. One can readily appreciate the difference that two years makes instead of one, with those second year performers generally exhibiting well-rounded, polished skills throughout the concert.
Wagner: Die Meistersinger von Nürnberg
The Proms, Welsh National Opera, Royal Albert Hall, 17th July 2010, Stephen Jay-Taylor
You know when the summer season’s finally arrived in London because there’s absolutely nothing on in the field of classical music in either of the
principal concert halls, given over to jazz and tat, and with both the opera houses busy showcasing imported ballet. Oh, and the Proms will have started, taking one back to the glories of a hall with atrociously poor acoustics, non-existent facilities, no air-conditioning (after a £70 million refit), queues five miles long for the lavatories - of both genders - which block all possibility of free movement in the ugly, cramped corridors that provide the only access to the Stalls, and now the added insult-to-injury of a cloakroom charge of £1 per item (“bag and a jacket, that’s £2”), not to mention staff who have no idea where the press desk is.
Rasch: The Duchess of Malfi
Punchdrunk & English National Opera, 13th July 2010, Carla Finesilver
In E16, near one of the outer ends of the Docklands Light Railway, is Great Eastern Quay, and a disused office block, where you are given an appointment card for a vaccination programme, a
murky-looking drink, a white mask to cover most of your face (which must be worn At All Times), and a brief health-and-safety spiel. You are then left to your own devices. Welcome to the new collaboration piece between the ENO and Punchdrunk!
Distinguished Conductor Dies: Sir Charles Mackerras
One of the 20th century's most influential and leading conductors has died aged 84 in London. Sir Charles Mackerras lost his long running battle against cancer on the 14th of July 2010, but 
leaves behind him a great legacy, not least of which is his vital contribution in promoting the works of the Czech composer, Leos Janacek. It was in 1951 that he gave the British premiere of Janacek's Kat'a Kabanova at Sadlers Wells, which sparked the beginnings of the international interest in the operas of the Czech composer, including the legendary Janacek opera cycle of recordings, which Sir Charles recorded for Decca.
Handel: Semele
The Barbican, 8th July 2010, Mark Pullinger
I first encountered Miss de Niese back in 2006 in a concert given by Opera Fuoco at St John’s Smith Square as part of the Lufthansa Baroque Festival. In the 
first half, she and tenor Paul Agnew sang a number of extracts from Semele which completely bowled me over, not least due to her entrancing stage presence, lending more drama to a ‘concert performance’ than I’ve seen many singers give in staged productions of operas.
Sumi Jo
WASO, Perth, Australia, 2nd July 2010,Sandra Bowdler
Korean born soprano Sumi Jo is no stranger to Australian shores, where she is probably better known as a concert artist than as an opera performer. This evening (and the following) were
billed as Western Australia Symphony Orchestra’s 2010 Grand Gala and labelled a “black tie” event; some attendees at the well-filled concert hall did actually rise to that challenge. Special chandeliers were installed above the stage - this was never going to be some arcane recital but an all-stops-out crowd-pleaser, as indicated by the not exactly unfamiliar repertoire. The audience, including an obvious core of Sumi Jo acolytes, was primed for an excursion into the showy and well-loved. Alas, Ms Jo was suffering an ailment and from the first note it was clear that her voice was not its usual full-bodied self. She carried on gamely however and despite struggling vocally provided an enjoyable evening of well-honed diva display.
Beethoven: Fidelio
Opera Holland Park, 1st July 2010, John E De Wald
Opera Holland Park’s current production of Fidelio, Beethoven’s only opera, received much acclaim upon its premiere in 2003. Despite often being criticized
for the longueurs of its spoken dialogue and lack of cohesive dramatic structure—surely not helped by its troubled genesis and three librettists leading up to the final version—it remains a powerful work, a hymn to freedom owning some of Beethoven’s most beautiful and stirring compositions. Though Beethoven may not have possessed the intrinsic grasp of the stage owned by a composer like Mozart, a good performance of Fidelio is intensely moving and uplifting; if Opera Holland Park’s effort doesn’t completely succeed, some strong performances by its cast, chorus, and orchestra still manage to make one appreciate the wonders of Beethoven’s score.
Der Ring des Nibelungen, Los Angeles Opera, John E De Wald
Das Rheingold, 29th May 2010
Much has already been written about the now infamous Achim Freyer production of Wagner’s Ring at Los Angeles Opera. The past year has seen the trial 
runs of individual performances of the four operas, each unfailingly generating opposing cries of rapturous commendation and vitriolic opprobrium. A year after Freyer’s exuberantly non-naturalistic Rheingold opened in solitude, it finds itself revived as part of the first complete cycle of Wagner’s masterwork ever performed in the city of Los Angeles. Read More>>
Los Angeles Opera inaugurated their first complete Ring cycle with a Rheingold that was unlike any other, crafted by director Achim Freyerwith an exceptionally artistic hand that made for an evening that was riveting from start to finish. It was a Rheingold that made one forget entirely that the opera is musically the weakest in the cycle, a Rheingold that somehow made one wish its two and a half hours without interval were longer. Read More>>
After a superlative showing for the first two evenings of Wagner’s Ring, one could be forgiven for waiting with unwonted expectancy to see what LA Opera would conjure for the third installment of their cycle. Yet success was by no means guaranteed; Siegfried is always one of the more challenging operas to stage well, all too easily encumbered by lengthy plot recapitulations and a hero it can be difficult to like, let alone regard as potential savior of a corrupt world. Read More>>
Gotterdammerung, 6th June 2010
In Act II of Die Walkure, faced with the death of the son he has chosen as instrument of his redemption, the god Wotan longs bitterly for the end. With Gotterdammerung, that moment has finally arrived—not only the end of Valhalla and the ascendancy of the immortal gods, but the end of LA Opera’s inaugural cycle of Wagner’s Ring. By any standard of judgment, the cost of this production to the company has been high; and yet, watching it all come together and culminate in this evening, one can only admire the breadth of its accomplishment. Read More>>
Strauss: Salome
The Royal Opera, 3rd July 2010, Antony Lias
David McVicar’s startling production of Strauss’s Salome was back for its first revival, but without a first-rate cast. 
Dominated by the lacklustre and blunt tones of the German soprano Angela Denoke, Strauss’ orchestral and vocal maelstrom failed to take flight; instead we were left with a rather polite and indifferent reading, which was distinctly at odds with McVicar’s sharp and potent production.
Verdi: Rigoletto
Welsh National Opera, Cardiff, 25th June 2010
Rigoletto is the final opera in Welsh National Opera's season of Love and Passion. This revival of James
Macdonald’s 2002 production sees Simon Keenlyside in the title role, performing the challenges of the Court Jester for the first time in his illustrious career. Verdi’s powerful score is firmly placed in the hedonistic, political world of 1960s Washington with a sharp design (Robert Innes Hopkins) and fascinating orchestral colours with the young, vibrant conductor Pablo-Heras Casado making his WNO debut. The opening night suffered some ensemble difficulties between stage and pit, but no doubt these will be ironed out as time progresses.
Mozart: Don Giovanni
Opera Holland Park, 28th June 2010, Mark Pullinger
In truth, the prospect of this Don Giovanni at Opera Holland Park didn’t fill me with high expectations for several reasons;
Pelléas et Mélisande with its nondescript clunky white geometric shapes; thirdly, an English cast, supplemented by a Jamaican, a New Zealander and a Scot. In reality, I was proved gloriously wrong. Given the limitations of the performing space, this is one of the best productions of the Don I’ve seen, with neat directorial ideas, an effective set and, on the whole, good singing.
Elisabeth Meister & The Dulwich Choral Society
St Stephen's, Dulwich, 26th June 2010
St Stephen’s Church in Dulwich may not immediately spring to mind as one of the must attend cultural venues in the metropolis, but on the evening of Saturday the 26th of June the Dulwich Choral Society managed to put on an evening of truly superb 
entertainment, showcasing a soprano whom I can confidently predict, will become one of the truly great voices of the future. Consequently it is worth travelling anywhere to catch a performance featuring Elisabeth Meister. All praise therefore is due to Aidan Oliver (the Musical Director of the Society) who managed to secure Meister’s services whilst it is still possible. The end result was the sort of evening which will become ingrained in the memory of all who attended for a very, very long time.
Massenet: Manon
The Royal Opera, 22nd June 2010
It has been sixteen years since The Royal Opera last performed Massenet’s sumptuous Opéra Comique, Manon, which in itself is quite 
unforgiveable. However, one must therefore ask if, on the basis of Laurent Pelly’s new production and the presence of a certain Russian superstar soprano, was it worth the wait? A qualified yes is my answer. As with so many of Massenet’s operas, getting the right soprano for the title role is always rather problematic. Thais requires a soprano capable of rich lyricism and an upper register which easily encompasses the high D, whilst Esclarmonde calls for an almost impossible combination of vocal qualities, including powerful hair-raising acuti, dazzling coloratura, and at times the power of a dramatic soprano to ride the lush Wagnerian orchestration. Manon is somewhat less of a challenge, but it should not be underestimated. It requires any interpreter to have a real appreciation for the idiosyncrasies of the French style. If one listen’s to Emma Luart’s peerless recording of Manon from 1928, one can immediately appreciate how far we are now removed from producing singers who can dazzle and move us in this repertory, but still stay faithful to this style of singing.
invited to join composer Anna Meredith, sound designer Sam Godin and the classically trained Indian singer Falu, in an evening where they can record Satyagraha-inspired loops that will form part of the “Remix”. 
even as warmly as they did to Thomas Adès’ The Tempest. Both these works were broadcast live on BBC Radio 3, and each of these broadcasts has been cleaned up and recently issued on double CD (Adès on EMI, 2009; MacMillan on Chandos, 2010). Both operas also have composers who enjoy successful careers as conductors, but while Adès conducted The Royal Opera House forces at Covent Garden, it was unfortunate that on the night when The Sacrifice was broadcast from the Wales Millennium Theatre with Welsh National Opera, MacMillan was unwell and was therefore forced to hand over the reins to Anthony Negus.
of recession by the magnificent margin of point squit of a zillionth, it was nice actually to encounter something quite so uncomplicatedly positive as her recital. Opera singers, in the up-close and personal context of a recital room, fall into extremely contrasting categories, ranging from the all-singing, all-dancing Ethel Merman-esque firecrackers (Cecilia Bartoli) to the half-barmy and catatonic (um, better exercise some discretion here, I suppose) by way of sassy, sweet ‘n simple, straightforward or sepulchral, the raunchy or the reverential, the bullish or the businesslike. 
Covent Garden, the Metropolitan and, as preserved on this DVD, the Festspielhaus Baden-Baden, each of the original directors was no longer around to supervise his show's latest outing. This matters less, of course, in stagings that cleave close to the scenic and theatrical givens of the work as conceived by Hofmannsthal and Strauss in microscopic detail, than in ones like that under consideration here that avail themselves of varying degrees of liberty and licence.
