Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

OPERA TODAY ARCHIVES »

Performances

24 Nov 2004

OONY Presents La Fanciulla del West

Superb, if mixed, Fanciulla at OONY Last night's La Fanciulla del West at Carnegie Hall was the classic case of the whole being much better than the sum of its parts. It was a thrilling performance of Puccini's score and...

Superb, if mixed, Fanciulla at OONY

Last night's La Fanciulla del West at Carnegie Hall was the classic case of the whole being much better than the sum of its parts. It was a thrilling performance of Puccini's score and a huge, fully deserved, personal triumph for Aprile Millo.

Of the three roles Ms. Millo has done for OONY recently, this was surely the most successful, better even than her storied Adriana Lecouvreur and easily obliterating memories of her pale La Gioconda. For one thing, the role sits perfectly for her voice,allowing its beauty and sensuousness to emerge almost effortlessly. The high notes are still possible for her, even if the tone now spreads just noticeably,and they are both substantial and secure. Her major current technical limitation -- not being able to do anything in the top register piano let alone pianissimo, was no handicap in this score. She dominated the proceedings vocally and created a believable character, with no trace of the pretentious grande dame mannerisms that had trivialized her Gioconda. Her Minnie was down to earth, courageous, and emotionally vulnerable -- and Ms. Millo seemed to enjoy portraying her immensely. Audience reaction was tumultuous and it was all richly deserved, not inflated or fake enthusiasm for a cult figure. Last night Aprile Millo was a major Italian Soprano in great shape and in full communication with her audience.

I don't mean to suggest that it was a case of Aprile and the seven dwarfs, but nothing else except the spirited, tonally gleaming work of the New York City Gay Men's Chorus and William Ferguson's strongly sung and acted Nick the Bartender came anywhere near her level. The orchestra played very well, with all sorts of inner detail cleanly articulated, but conductor Eve Queler let it roar out at volume levels that covered singers mercilessly. Ms. Queler has a penchant for finding promising, interesting young singers and giving them wonderful exposure in these concert performances. Last night, however, the entire first scene until Minnie's entrance (except for the brief Jake Wallace scene) that features a dozen such singers, was experienced as pantomime. Time after time during the evening, the orchestra was allowed -- encouraged? -- to obliterate anything in its path. As a performance of the Fanciulla symphony it wasn't bad, but Puccini did write this as an OPERA and far too many moments, even for the three principal singers, were inaudible.

There was another disappointment. Tenor Carl Tanner, who has been impressive elsewhere, was miscast here. Like Minnie, Dick Johnson has some spectacular ascents into the upper register and Mr. Tanner didn't fail. But Johnson -- also like Minnie -- really lives in his middle voice and needs strength at the bottom as well. Mr. Tanner's voice doesn't blossom down there and its focus is warm and soft rather than clear and brilliant. Given the orchestral volume, he was mostly either inaudible or not really present vocally from his first entrance until half way through the final duet of act one. Act two was much the same. In act three, he seemed to find enough volume for basic audibility but the heart of the role does not lie well for him, particularly under the orchestral circumstances he faced last night.

Marco Chingari, a handsome man with a fine-grained baritone of nice, warm timbre, made a sympathetic if moderately-scaled Sheriff Rance. Stephen Gaertner's Sonora emerged an attractive presence, Daniel Mobbs sang Jake Wallace beautifully, Mary Ann Stewart actually made something of Wowkle, and Mr. Ferguson's Nick showed promise of a fine lyric tenor leading man in the making. Evaluation of the rest of the large cast must await a performance in which they can actually be heard with some consistency.

Ira Siff faced some serious challenges in directing a semi-staged Fanciulla. There's a massive amount of realistic action and he was also facing a leading lady who has gained a considerable amount of weight in the past year and who elected to sit during most of act two. This last created serious difficulties for Mr. Tanner when attempting to play any scenes opposite her and Mr. Siff may simply have given up. Act two featured a lot of wandering around the stage until the climactic poker game for Johnson's life. Here, where Ms. Millo could justifiably have sat across a table from Rance, Mr. Siff had the singers standing on either side of the podium singing straight out at the audience with not a card in sight. Fortunately, Ms. Millo made the moment electric visually and vocally all by herself.

But I cannot stress enough that SHE was enough. The performance last night will be remembered as a huge success, a success that rests firmly on her fully capable shoulders.

William Fregosi
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology

Recommended recordings:

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):