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Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.
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.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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’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.
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.
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).
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.
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.
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 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 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.
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.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
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.
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’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.
07 Aug 2005
Renata Tebaldi: A Portrait
For those without videos or DVD's by the Italian soprano, this is a must. For all the others, better to read attentively the sleeve notes as there is nothing new to be found on these two DVD's. The Concerto Italiano can be purchased separately with the same firm. The Bell Telephone Hour selections are still available on the several Great Stars of Opera-DVD's brought out by VAI or on the video exclusively devoted to the soprano. And the selections from Tosca (Stuttgart 1961) are culled from a complete performance, also put on DVD by VAI and somewhat misleadingly called "The only available video of Renata Tebaldi in her signature role" on the firm's web; for convenience's sake forgetting the words "at this moment" as VAI once published another complete Tosca (with Poggi, Guelfi and the late soprano's lover at the time, conductor Arturo Basile).
That being said let's concentrate on what is offered here. It is abundantly clear that the very great Tebaldi is to be found in the first items on the first DVD. There the voice still has the unimpaired velvet that would somewhat disappear after her first vocal crisis in February 1963 to be supplanted with a more metallic though still clearly recognizable Tebaldian sound. The pieces from La Boheme with Bjoerling are well-known and VAI is so honest to note that the sound is a synched audio recording made in the studio during the telecast to suit the kinescope image. This is the correct procedure as picture recording was rather primitive in the fifties and often directly recorded sound (which could be more easily preserved) and images (which got blurred or sometimes even got lost for a second) don't quite match if one doesn't take this road. Luckily the synching is done expertly and once more one is struck how natural an actress Tebaldi is; surely when compared with Bjoerling's stiff attitude.
One of the surprises of the lively debates on several opera forums after she died was the remarkable opinion of many veterans who saw both ladies that she was a more believable actress than Callas who seemed to many still to be stuck in the grand guignol-style of the thirties. We don't have Callas as Cio-Cio-San but it's hardly believable she could improve on Tebaldi's magnificent interpretation of the two arias (and in full colour as well. As a bonus you get these scenes somewhat longer in black and white as well but this hardly deserves the "first release" cry). I'm wondering if the full colour "Si, mi chiamano Mimi" is still somewhere in the archives. The sound track for that item (I often saw on Flemish Public TV) is derived from her second complete Boheme as was clear from the audible "Si" by Carlo Bergonzi between the two parts of the aria. A picture of that video found its way to the cover of the London-(not the Decca) issue of the opera on LP.
The telecast of 1961 is less to recommend. The picture is somewhat murky and the soprano has to wear some things which could make an impression on the Family Circle at the Met but are very much overdressed, even ugly in close-up. The excerpts from her Stuttgart Tosca are more worthwhile, though it is not for the strangled sounds of tenor Eugene Tobin or the dry voice of George London. I remember well the excitement almost 45 years ago when the opera (followed or preceded by an Otello with the horrible Hans Beier) was broadcast by Eurovision in Western Europe. Most countries had only one channel (the big ones had two) and commercial television didn't exist. At that time opera singers were still household names and the fact that Tebaldi would sing directly was front page news. She is in good voice though somewhat husbanding her means at the start and one now notices how she cuts short her top notes.
The Concerto Italiano was recorded by Canadian Broadcasting Corporation in 1965; so just in time before the decline from 1968 onwards when her top register became completely unhinged and she refused any engagement in a complete opera performance outside the US as there alone she was sure the fans would turn in a deaf ear to her vocal shortcomings. In this broadcast she is at her best in Rossini's Regata Veneziani which she sings (and acts) with love and a dose of humour and which moreover poses no vocal hurdles as she must go no higher than high A. The long Tosca selection of the second act is less successful: not as to singing per se though the voice is steelier than in her great years but she is far more convincing, far more natural in her two complete theatre Tosca's. The cameras follow her closely and she is clearly overacting, always doing things, throwing looks, moving hands one second longer than is necessary. I fear the TV director is the culprit as there were no subtitles at that time and there was so much fear the audiences wouldn't "capture" the story; but four decades later it almost looks like a parody on Tosca. This time the soprano is more than ably partnered by the young Louis Quilico and he too has to squirm in overdrive.