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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

31 Jan 2005

La Forza del destino at Opéra Royal de Wallonie

So this was how a Forza would have sounded in the fifties and sixties in one of the better Italian provincial houses. At that time those extinguished species (lirico-spinto tenor and soprano) were still in abundant supply and one could easily hear nowadays forgotten names like Zambruno, Mori, Vicentini, Borso on the male and Mancini, De Osma, Barbato etc on the female side: big booming voices, maybe not always very subtle but steeped in the Verdian tradition and not afraid to give unstintingly all of their voices as if there is no tomorrow.


Manon Feubel — Donna Leonora di Vargas, Frank Porretta — Don Alvaro and Michael Ryssov — Padre Guardiano
Copyright: Opéra Royal de Wallonie

Feubel and Porretta in Forza

So this was how a Forza would have sounded in the fifties and sixties in one of the better Italian provincial houses. At that time those extinguished species (lirico-spinto tenor and soprano) were still in abundant supply and one could easily hear nowadays forgotten names like Zambruno, Mori, Vicentini, Borso on the male and Mancini, De Osma, Barbato etc on the female side: big booming voices, maybe not always very subtle but steeped in the Verdian tradition and not afraid to give unstintingly all of their voices as if there is no tomorrow.

Frank Porretta (the 3rd) fits this description to a T. The actual sound is a little bit undistinct : a dark somewhat thick voice in the Vinay-mould but with more metal above the staff and ringing high notes. Mezza-voce and piano are not his best points. The fine Verdi-phrase too in the Bergonzi-way is not his and therefore what should be the high point of his role, the La vita-monologue, remains a little bland. But he sings tirelessly, has all the notes, doesn't sob and cuts a fine figure on the stage. And after having heard too much lyric tenors forcing their instruments on Verdi's heavier roles, it comes as a relief to hear a singer coping easily with the score and not being afraid to show his emotions through a few extra decibels in the Del Monaco-manner. His is not a big career and I fail to see why, as with the actual dearth of such voices he would be a commanding Otello, Manrico, Canio. I've heard his countryman, Carl Tanner, described as a kind of heroic tenor but I've now heard Tanner in several roles (Mefisto, Fanciulla, Luisa Miller) and neither in sound or volume is he half as exciting as Porretta.

Another big gun was delivered by young Mexican baritone Carlos Almaguer. He too has decibels to spare and he too is not the most refined of singers (but neither is the role as it clearly depicts an obsessed blood-hound who chases his victims for five years). The voice has the brown colour of the real great Italian heroic baritone and when he sings out he could match Porretta tit for tat. "Invano Alvaro" was the real challenge by two hot-blooded people and it made a tremendous impression. Moreover the whole "Ne gustare"scene was restored and not cut as happens too often as it makes the opera overlong (the truth is that most tenors and baritones don't have the stamina to tackle that difficult scene as well, coming so soon after their big arias and duet " Sollenne in quest'ora" and knowing that their immense last act still has to follow). Almaguer's voice reminds me a lot of the underestimated Aldo Protti in his best live performances and so does his short stocky figure. It came somewhat as a surprise that this heroic voice didn't take the higher options; indeed at high F and G the voice thins and loses focus. Still, a force of nature.

Canadian Manon Feubel has the same big sound, though with her, there is refinement as well. I heard her at Liège several years ago in a fine Carmen (with Uria-Monzon) where she struck me as the best singer. The voice is still fine but has definitely grown and can easily soar over the orchestra. But contrary to her male partners, she has some nice diminuendo's and knows how to sing an appealing messa di voce in several of her arias. She knows how to spin out long arching phrases in one breath in "Me pellegrino" and "Pace, pace" and she could easily be heard over the monks in the second act. With Feubel too one wonders why she is not better known (I know, I know: I have her one solo CD) as she combines power with excellent phrasing. And I fear it has something to do with her looks. She is not tall and rather large though as with many somewhat large women she has a very beautiful face. In Forza, largeness is no handicap as for most of the time she can (convincingly) act in robes, coats and frocks but I cannot imagine any serious Verdi-lover objecting to her as Aida or some of the other Leonores because she has a few pounds too many.

French high baritone Olivier Grand has a cutting baritone and was a most convincing Melitone, indeed the best I remember since Renato Capecchi in Verona so long ago. Only Padre Guardiano didn't raise to the heights this grateful role requires. The imposing tall White-Russian bass Michail Ryssow sang too woolly with a somewhat throaty and unfocused sound.

French conductor Alain Guingal is not really a household name though he has conducted in several of the best houses. I've heard him a few times in Liège and each time he strikes me as choosing correct tempi, breathing with his singers, not unduly hurrying his orchestra for extra-brilliance. And this time too, one didn't really notice the conductor as everything flowed so naturally along and maybe this is the highest praise for a good Verdi-conductor.

The production was originally conceived by French director Bernard Broca (deceased in December 2002) for Avignon and probably made a lot of people happy: no civil wars in Spain or guerrilla in present-day Columbia but colourful 17th century Spain and Italy as Verdi and Piave intended it all along. I have nothing against updating if there is a clear concept but with surtitling now available to the whole audience these traditional costumes and designs fit so much better with the libretto. I don't know if it was Broca's idea or that of Claire Servais who did the actual directing but I think if one chooses for a realistic production one should follow it to the end. During the inn scene where Carlos is looking for his sister, everybody kneeled at the arrival of the pilgrims except Leonore and it would have taken Carlos half a second to recognize the only standing figure. And at the end she simply marches away to the lights of her apotheoses.

Jan Neckers

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):