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Opera Now provides a unique and all-encompassing perspective on the international opera scene through its lively and colourful mix of news, reviews, interviews, travel articles and commentary.

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Latest News

Plácido Domingo turns 70

21 January 2011

(Photo: Richard Haughton)
(Photo: Richard Haughton)

The tenor, baritone, conductor and influential opera administrator, Plácido Domingo, is celebrating his 70th birthday today.

True to his motto "If I rest, I rust", he has chosen to spend the evening giving a special birthday concert at the Teatro Real in his native Madrid.

Many of Domingo's musical friends will also also be present to pay tribute.

The January/February issue of Opera Now includes a 4-page cover feature about Plácido Domingo by John Steane. 

ENO upstages ROH in the race to screen live 3D opera

13 January 2011, London, UK

Soprano Claire Rutter
Soprano Claire Rutter(Photo: Joe Low)

English National Opera has announced a renewed partnership with broadcasting and media giant Sky. The collaboration begins on 23 February with what is claimed to be opera’s first ‘quadcast’, featuring the first live broadcast of an opera in 3D.

The quadcast of Donizetti’s Lucrezia Borgia, staged for ENO by the film director Mike Figgis, will be screened on Sky Arts 2 and Sky 3D as well as selected cinemas around the world.

The new production features British soprano Claire Rutter in the title role, with Paul Daniel conducting

Meanwhile, the Royal Opera House’s much-heralded 3D film version of Carmen, originally planned for release last autumn, is now due to be premiered on 5 March in over 2,000 participating cinemas worldwide. However, it seems that the race to put 3D opera before the public will be won by ENO, though many industry commentators (including The Met’s Peter Gelb, one of the architects of opera in cinema), have expressed reservations about the 3D format in the context of opera.

“Opera helps us to capture a niche audience in an industry that’s trying to shake off its dependence on Hollywood,” says Lyn Goleby, managing director of the independent group Picture House Cinemas. “But we’d like to sell it as a stylish, civilised experience that captures the something of ambience of actually being in an opera house. Having to wear chunky 3D glasses might not entirely fit with this.”

An interview with Claire Rutter about her preparations for the role of Lucrezia appears in the Jan/Feb 2011 issue of Opera Now - click here to subscribe now.


La Traviata at The Met

13 January 2011, New York, US

Marina Poplavskaya (Violetta) and Matthew Polenzani (Alfredo)
Marina Poplavskaya (Violetta) and Matthew Polenzani (Alfredo)(Photo: Ken Howard/Metropolitan Opera)

Review by Heidi Waleson

The high-concept Willy Decker production of La Traviata was a hit at the Salzburg Festival in 2005 with Anna Netrebko and Rolando Villazón, but the version that premiered at the Metropolitan Opera on 4 January felt as chilly as its leading lady, Marina Poplavskaya.

By stripping away the surface decoration that goes with a period staging, Decker eliminated all pretence from Violetta’s situation – she’s a prostitute with a limited life expectancy, and her world is ugly. But we also have to care about her, and Poplavskaya couldn’t manage that. Her inconsistent soprano has some clarion notes, but she lacked the warm lyricism needed for 'Ah! fors’é lui' and the coloratura flexibility for 'Sempre libera'. Her best vocal moment came in Act IV’s 'Addio del passato', which she sang with a simple bleakness that matched Violetta’s hopelessness.

Matthew Polenzani’s gentle, lyrical tenor brought a depth of vulnerability to Alfredo, emphasising his naiveté. He was persuasive, and his scene with this very unpleasant Germont was unusually physical and realistic – a father-son melée that burns with mutual misunderstanding and disappointment.

The Met's Traviata runs until 29 January, with the next performance on 15 January.

Read Heidi Waleson's complete review in the March/April issue of Opera Now.


Knighthood for ENO chairman; mezzo-soprano becomes a Dame

4 January 2011, London, UK

Vernon Ellis
Vernon Ellis

Felicity Palmer
Felicity Palmer(Photo: Christian Steiner)

Arts philanthropist, Vernon Ellis, and mezzo-soprano, Felicity Palmer, have both received recognition for services to music in the UK’s 2011 New Year Honours list.

Ellis, who was honoured with a Knighthood, has been the chairman of English National Opera since 2006 and last year also became the chairman of the British Council.

He is known to have donated more than £7m to around 70 UK arts organisations, including £5m towards the renovation of The Coliseum in 2004.

Mezzo-soprano, Felicity Palmer, who now holds the title Dame Commander of the Order of the British Empire, had previously been appointed a CBE in 1993.


Philip Glass’s In the Penal Colony at ROH2, Linbury Studio Theatre

1 January 2011, London, UK

Omar Ebrahim as The Officer
Omar Ebrahim as The Officer(Photo: Clive Barda)

Review by Igor Toronyi-Lalic

In the Penal Colony is first and foremost a nightmare opera: a drama of confusion and suffocation, collusion and retribution. A visitor to a penal colony is invited to witness an execution of a condemned man who has had no trial and doesn’t know what crime he has committed. The increasingly ambiguous relationships between visitor and executioner, and executioner and the condemned, force us to confront an evergreen conundrum: how do we deal with violence without being corrupted by it?

Rudolph Wurlitzer's libretto, based on a Franz Kafka short story, is pungent with a Pinteresque smell of power, perversity, fear and blood. Philip Glass's chamber score, on the other hand, smells of little but the salty popcorn and fizzy pop that has inflected most of his music since he started to write for film three decades ago.

The music, written for a string quintet, is heavy with emotion and arpeggios. Mostly it does too much, flattening the words or embroidering them with schmaltz. At times it jars, as in the Fellini-esque springiness near the opening. There is no doubt that Glass can sculpt narrative structures and generate momentum well enough musically but emotionally he is often way off the mark. At Covent Garden, amplification hampered the intimacy and intensity even further, highlighting as it did the frequent intonation problems that the string players were having throughout the performance.

The singers took their cue from Glass and drove home an overwrought interpretation from the start such that there was no possibility of ratcheting up the tension any further. The Officer (Omar Ebrahim) who is charged with executing the Condemned Man was jittery with mania from the word go. The willing onlooker to the execution, the Visitor (Michael Bennett), is a nervous wreck from his first soliloquy.

After a few early intonation problems, Ebrahim sung with great fluency but little tautness or tension, everything being delivered with grand operatic hyperbole. Bennett was better, his soft, light Pélleas-like voice fluttering soulfully above the fray. Indeed, there is more than something Pélleas et Mélisande-ish about the death-soaked world into which he enters.

The directing (Michael McCarthy), set (Simon Banham) and music-making (conductor, Michael Rafferty) left a lot to be desired. The altercations were unrealistic. The silent, Christ-like Condemned Man (Gerald Tyler) was too obviously to be pitied; the Visitor's role was unexplored; and the real dilemma - our desire to torture the torturer - was overlooked.

There is a great opera in here, somewhere: a tight, surreal, tense ride, full of deathly dark comedy and uncomfortable questions about acquiescence and liberal passivity. But it won't be found in this production or musical setting.


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