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

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

OPERA TODAY ARCHIVES »

Performances

27 Dec 2004

Il trovatore at Munich

Gefahr für die Luftröhre Staatsoper: Neu besetzter "Troubadour" Eine Produktion mit Hustenreiz-Garantie. Denn wenn sich der Vorhang zum hochgradig verstaubten Staatsopern-"Troubadour" öffnet, dann sträuben sich in der Luftröhre die Flimmerhärchen. Für Stars auf der Durchreise taugt das müde Arrangement allemal:...

Gefahr für die Luftröhre
Staatsoper: Neu besetzter "Troubadour"

Eine Produktion mit Hustenreiz-Garantie. Denn wenn sich der Vorhang zum hochgradig verstaubten Staatsopern-"Troubadour" öffnet, dann sträuben sich in der Luftröhre die Flimmerhärchen. Für Stars auf der Durchreise taugt das müde Arrangement allemal: rechts rein, links ab, dazwischen ausgestreckter Arm oder Colliergriff, und in den enervierenden Umbaupausen werden einfach ein paar Pappmaschee-Felsen verrollt.

Was allerdings Sängern, unbelästigt von Regie, freie Wildbahn eröffnet. Und Münchens vereinigte Fankreise waren gekommen, um vor allem ihn als Manrico zu begutachten: Salvatore Licitra, die Hoffnung im Fach des "Tenore robusto", dem Riccardo Muti einst beim Scala-"Troubadour" das hohe C verbot, weil es nicht von Verdi stammt. Licitra hat es, wie sich herausstellte, allerdings nur nach einer verhalten gesungenen Stretta und ein paar vokalen Irritationen. Unstrittig die Qualitäten von Licitras attraktiver, substanzreicher Stimme. Für die Heldenattacke fehlte ihm indes - an diesem Abend - der metallische Kern, Dramatisches wirkte forciert, manch Intervall in höhere Regionen wie ein Sprung ohne Netz. Nach dem Stretta-Hit schien der Star wie erholt - also doch alles Nervensache?

überhaupt war die Aufführung der Beweis, wie schwer derzeit Verdi zu besetzen ist. Auch die Leonora von Fiorenza Cedolins bleibt ein Kompromiss: leicht ansprechend die Mezzavoce, auch Verzierungen und hohe Piani; durchdacht und nachvollziehbar ihre Gestaltung. Doch wird die Dynamik hochgeregelt, gerät ihr Sopran ins Klirren. Alexandru Agache blieb als Luna zu harmlos, steuerte Tonhöhen gern von unten an, lieferte weiche, eingedunkelte Neutralität statt prägnante Bariton-Kraft.

Marco Armiliato, für Zubin Mehta eingesprungen, gab am Pult den temperamentvollen Steuermann, konnte indes musikalische Lähmungserscheinung nicht verhindern. Die Aktschlüsse krachten, Lyrismen hingen oft durch. Da hielt man sich doch lieber an die Königin des Abends. Luciana D'Intino (Azucena) gelang grosses Verdi-Format: Der Beweis, dass sich intensiver Ausdruck und vokale Makellosigkeit nicht ausschliessen müssen. Am besten, die Kollegen riskieren hier mal ein Ohr.

Cast information:

Leonora — Fiorenza Cedolins
Inez — Hannah Esther Minutillo
Il Conte di Luna — Alexandru Agache
Azucena — Luciana D'Intino
Manrico — Salvatore Licitra
Ferrando — Maurizio Muraro
Ruiz — Kenneth Roberson
Alter Zigeuner — Rüdiger Trebes

The Bavarian State Orchestra
The Chorus of the Bavarian State Opera
Marco Armiliato, conducting

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):