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For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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.