Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

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):