Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

OPERA TODAY ARCHIVES »

Performances

31 Oct 2004

Mefistofele in Amsterdam

by Jan Neckers Let's start with the main assets of the new Mefistofele in Amsterdam: the singers. Gidon Saks has one of the biggest booming bass voices that ever sounded in an opera house (yes, I heard Ghiaurov but Saks...

by Jan Neckers

Let's start with the main assets of the new Mefistofele in Amsterdam: the singers. Gidon Saks has one of the biggest booming bass voices that ever sounded in an opera house (yes, I heard Ghiaurov but Saks had a few decibels to spare). It's not an especially beautiful or personal sound and it is somewhat weak in the lower regions, more a bass baritone than a real bass; but it is smooth and impressive and very well apt for this title role. Saks gave us such an overwhelming amount of sound that by "Ecco il mondo" the voice slowly started to give way. As his role is somewhat limited afterwards he nevertheless could ride out this matinee (17th of October 2004). With his imposing height, his easy flowing movements on the stage he proved himself to be a superb actor.

Arrigo Boito 1842 1918

Tenor Dario Volonté actually has four voices but let me first state that his is not a small voice as one can read sometimes on other opera fora. First there is the deep dark burnished sound of the lower voice, partially produced with the lowered larynx method of Corelli. This sound sails into a very beautiful lyric middle voice somewhat reminiscent of a good Italian tenore di grazia though some people might think the vibrato perhaps too excessive (though not this reviewer). But, in the passaggio we hear an odd strangulated and somewhat throaty sound that we know so well from his countryman, José Cura. And from that ungainly or sometimes even downright ugly sound suddenly emerges a clear and strong high A or B. Capped by all this is one of the most beautiful pianissimo sounds I ever heard in the theatre. His amazingly beautiful "Lontano, lontano" was clearly modelled upon Ferruccio Tagliavini's classic recording and it could be proof that Mr. Volonté is more of a lyric tenor than his choice of heavy repertoire would lead us to believe. He is not a bad actor but his "physique" is such that he looks far better as an old man than as the young Faust.

The years have taken their toll on Miriam Gauci's voice. Ten years ago she was one of the best liricos around with a beautiful and homogeneous voice somewhat reminding one of Mirella Freni. The voice has grown somewhat bigger but has developed a wobble. Above the staff there is only shrillness and no beauty left. Her Elena was better than her Margerita, though in both roles she made no visible impression due to some cheap rags she had to wear.

I know it is politically correct in circles of Met attendees to deride conductor Carlo Rizzi and I wonder why. Two years ago he gave us an excellent Macbeth in this same theatre (Carol Vaness was the superb Lady) and this time too he chose perfect tempi, driving the opera along without unduly hurrying his singers so that they could breath. The orchestra (a radio orchestra which is doomed to disappear) played along for him as if they wanted to prove that they have the right to life and they easily matched the far more famous Concertgebouworchestra under Chailly in Don Carlos a few months ago (though Volonté is not Villazon).

There remains the fly in the ointment and, as so often in this theatre, it was the director: Graham Vick, one of those theatre people who think that Boito wrote this opera as a vehicle to one of the greatest gifts of God to humanity: the genius of Vick himself. Vick tried to kill the opera by overloading it in the well-known disastrous Zeffirelli-New Met-Opening-Manner. Almost every scene had a new and often laborious set change and, as there were five such changes, this added half an hour to the proceedings, which often broke all musical suspense. At the première, the Dutch press noted that Rizzi showed his opinion by ostentatiously drumming with his fingers during those changes. During rehearsals, there had been several terrible rows with Vick who refused to budge one inch on his original concept, though he was himself often unclear on his intentions due to a lack of preparation. Vick vented his anger for his own fault on the theatre and its personnel, which they didn't take lightly. At the final rehearsal, and contrary to usual theatre policy, nobody was allowed to attend. As a result, the performances had to be moved up half an hour at the very last moment; and, for the première, several employees had to phone, e-mail or sms every known guest of honor and ticket buyer to ask them to spread the good news. Vick added insult to injury by demanding that the magnificent chorus sing one of the greatest choral parts in operatic history behind the scenes.

And still, this production was not a complete failure as there were some devilishly beautiful scenes. The first scene, played during a village feast somewhere in modern Germany, was full of colour and opulence. The revolving scene didn't break down as with Zeffirelli's Anthony and Cleopatra. The Greek scene was a faithful reproduction of the famous reading room at the British Museum, though I don't think some beautiful young ladies and young men would be allowed into the building without the smallest piece of textile at all. But, you know, Greece and Greek statues etc., though these statues usually didn't move or strike sexy poses. On the other hand the Walpurgis night was simply ridiculous as it all took place within a circle of 25 large refrigerators. All in all, every scene was often more impressive than the whole of it. At the première, Vick was almost booed off the scene; probably the ultimate proof in many a director's mind that he/she is a genius. One more proud and well deserved medal in a catalogue of unbroken triumphs.


Cast

Mefistofele: Gidon Saks

Faust: Dario Volonté

Margherita/Elena: Miriam Gauci

Marta/Pantalis: Sally Burgess

Wagner/Nerèo: Carlo Bosi

Synopsis

Prologue
In Heaven Mephistopheles offers God a wager: he says that he can succeed in seducing the learned Faust onto the paths of evil and that he will gain possession of his soul. God accepts.

I
Mephistopheles travels to Frankfurt disguised as a Franciscan monk. He enters Faust's study and convinces him to sign a contract.

II
Mephistopheles and Faust are in a garden with Margherita and Martha, her neighbour. Faust converses with Margherita and seduces her. To prevent their being disturbed, he gives Margherita a powerful sleeping-draught for her mother.

Mephistopheles and Faust travel to a witches' sabbath on a mountain top. Faust beholds a vision of Margherita, pale as death with a blood-red rope around her neck. He hears Mephistopheles' curse upon the world.

III
Margherita is in prison awaiting her execution. She has been accused of having killed her child and poisoned her mother. Faust attempts to convince her to flee with him, but she refuses. She recognises Mephistopheles as the devil and prays for forgiveness. Choirs of angels announce the salvation of her soul.

IV
On the banks of the Peneios in ancient Greece, young girls perform a dance in honour of the full moon. Helen of Troy and her companion Pantalis lament the fate of Troy. Mephistopheles and Faust appear. Faust professes his love for Helen and they withdraw to a cave.

V
Faust sits in his study in Frankfurt. He has grown old and thinks back upon all he has experienced. He realises that his life has been mere vanity. He dies with the Bible in his hand, without giving in to the last temptations sent by Mephistopheles. Faust is welcomed by the angelic host into Heaven.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):