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

Late Schumann in context - Matthias Goerne and Menahem Pressler, London

Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels. Goerne programmes are always imaginative, bringing out new perspectives, enhancing our appreciation of the depth and intelligence that makes Lieder such a rewarding experience. Menahem Pressler is extremely experienced as a soloist and chamber musician, but hasn't really ventured into song to the extent that other pianists, like Brendel, Eschenbach or Richter, for starters. He's not the first name that springs to mind as Lieder accompanist. Therein lay the pleasure !

Guillaume Tell, Covent Garden

It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.

Aida, Opera Holland Park

With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.

Death in Venice, Garsington Opera

Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.

La Rondine Swoops Into St. Louis

If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.

Emmeline a Stunner in Saint Louis

Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.

Luminous Handel in Saint Louis

For Opera Theatre of Saint Louis, “everything old is new again.”

Two Women in San Francisco

Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?

Les Troyens in San Francisco

Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.

Dog Days at REDCAT

On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.

Opera Las Vegas Presents Exquisite Madama Butterfly

Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.

Yardbird, Philadelphia

Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.

Giovanni Paisiello: Il Barbiere di Siviglia

Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.

Princeton Festival: Le Nozze di Figaro

The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.

Die Entführung aus dem Serail,
Glyndebourne

Die Entführung aus dem Serail was Mozart’s first great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.

German Lieder Is Given a Dramatic Twist by The Ensemble for the Romantic Century

The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.

Hans Werner Henze: Ein Landarzt and Phaedra

This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.

Dido and Aeneas, Spitalfields Festival

High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.

Intermezzo, Garsington Opera

Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’

Cosi fan tutte, Garsington Opera

Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.

OPERA TODAY ARCHIVES »

Performances

14 Dec 2004

Rossini's La Pietra del Paragone at Opéra de Fribourg

LA PIETRA DEL PARAGONE (La pierre de touche) Melodramma giocoso en deux actes de Gioacchino Rossini Livret de Luigi Romanelli (1751-1839) Créé à la Scala de Milan le 26 septembre 1812 Le comte Asdrubal est entouré de trois femmes qui...

LA PIETRA DEL PARAGONE
(La pierre de touche)

Melodramma giocoso en deux actes
de Gioacchino Rossini

Livret de Luigi Romanelli (1751-1839)

Créé à la Scala de Milan
le 26 septembre 1812

Le comte Asdrubal est entouré de trois femmes qui cherchent à l'épouser, mais il n'est aimé que d'une seule, Clarice. Fatigué de leurs assiduités et de l'empressement d'un journaliste vénal, d'un homme de lettres ridicule et d'un jeune poète, le comte monte un stratagème: il prétend etre ruiné. Et tous de l'abandonner sauf Clarice et le poète Giocondo. Mais Clarice décide à son tour de se jouer de lui. Il est au désespoir jusqu'à ce que Giocondo réconcilie les amants.

Conjuguant les jeux fugaces de l'amour et du hasard à une peinture assez sardonique de la société, La Pierre de touche souleva un tel enthousiasme lors de sa création qu'elle rendit son auteur aussitot célèbre dans toute l'Italie. On ne comprend pas comment une telle œuvre, l'une des plus brillantes partitions de Rossini, si riche de juvénile gaieté, d'inventions mélodiques virtuoses et d'impertinence heureuse, nous est restée si longtemps inconnue...

[Click here for details.]

Recommended recording:


La Pietra Del Paragone

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):