Opera Review: To Venus and Back

Wagner's Tannhäuser returns to the Met.
by Paul J. Pelkonen

Meeting Venus: the goddess (Michelle DeYoung, left) seduces Tannhäuser
(Johan Botha, right) in the first act of Richard Wagner's opera Tannhäuser. 
Photo by Marty Sohl © 2015 The Metropolitan Opera.

On Thursday night, the Metropolitan Opera revealed its lone Wagner offering of the current season, a revival of the company's worn but much loved 1977 production of Tannhäuser from the team of Otto Schenk and Gunther Schneider-Siemssen. The problem child among Wagner's thirteen operas, Tannhäuser is the story of an itinerant minstrel knight (the title character, played here by tenor Johan Botha) caught between his love for the saintly Elisabeth and his erotic obsession with the goddess Venus and her underground pleasure palace, a plot element that led Wagner to consider naming the work Der Venusberg, or "The Mountain of Venus." Eventually, good taste prevailed.

Concert Review: This Used To Be Their Playground

The New York Philharmonic returns to Carnegie Hall for its 2015 gala.
by Paul J. Pelkonen

Evgeny Kissin played the opening gala of Carnegie Hall.
Photo by Bette Marshall for Sony Classics.

Opening night at Carnegie Hall is a festive occasion each year. This year, the famed venue turns 125 years old, and celebrated that birthday with a program that looked back upon golden moments in its venerated history. The guests though were from up the street: the New York Philharmonic. America's oldest orchestra called the Carnegie stage home for 70 years before upping roots to Lincoln Center.

The Five Scariest Scenes in Opera

We look at harrowing moments in honor of Halloween.
by Paul J. Pelkonen

The man who came to dinner: John Tomlinson as the Commendatore in Don Giovanni.
Image from the 1984 film Amadeus © The Saul Zaentz Company/Orion Pictures.

Opera is more than just pretty voices against an orchestra: it is an art form that has fascinated listeners for five centuries. And ever since Monteverdi's >i>L'Incoronazione di Poppea

, composers have gleefully shown bloodshed, murder, rape and (in the case of Hansel und Gretel) cannibalism.
In honor of the month of October and the approach of Halloween Superconductor offers a list of five operatic moments that make us clutch our arm-rests: the most nail-biting, terrifying, out-right harrowing scenes from five famous operas.

(Note to our readers: If you haven't seen Elektra, Rigoletto or Tosca yet (and they're all on the Metropolitan Opera's schedule this season) beware: there be spoilers after the jump.)

Recordings Review: Building A Better Pyramid

Antonio Pappano's new studio Aida from Rome.
by Paul J. Pelkonen

Studio warrior: Jonas Kaufmann recording Aida in Rome.
Photo © 2015 Warner Brothers Classics.

The classical recording industry of the 21st century is a pale reflection of that which went before: an era where recordings are issued to little fanfare in the non-music press and even the record store is an anachronism in the urban landscape. So it was a pleasant surprise to learn that the newly merged Warner Brothers Classics had recorded and would issue a new studio recording of Verdi's Aida in an era where cost cuts and singers' schedules dictate that most operas are now recorded at live performances. A perennial and much-loved show at the most munificent opera companies, Aida is also a small-scale love story and an intimate family drama. That combination has proved to be an elusive one to capture on disc.