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 Reviews

Shortlist Announced for 2017 Wigmore Hall/Kohn Foundation International Song Competition

Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.

Over 180 perform in action-packed new work: Silver Birch

Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

Garsington Opera For All

Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

The Royal Opera House announces its 2017/18 season

Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

OPERA TODAY ARCHIVES »

Reviews

03 Aug 2005

ROSSINI: Equivoco Stravagante

A DVD performance of an opera may deserve recommendation for a single memorable performance, or because a rare work has finally been recorded, or simply for nostalgia's sake. How many DVDs primarily offer the pleasures of a witty, imaginative staging, done on a minimal budget?

Gioachino Rossini : L'Equivoco Stravagante

Olga Voznessenskaia, Vito Marino, Luciano Miotto. Orchestra del Conservatorio di Musica "G. B. Martini" di Bologna; Coro Philharmonica di Piacenza; Carmine Carrisi (cond.)

Kicco Classic KCOU9007 [DVD]

 

Francesco Esposito (director and designer) has created such a performance for this Kicco Music DVD. Some Rossiniites may have been praying for a chance to see the very early L'Equivoco Stravagante; one hopes to be forgiven for suggesting the clamor elsewhere could not have been so great. The libretto's one amusing feature, alluded to in the title, involves a scam meant to convince an older suitor that his intended bride is actually a male — a castrato. That plot point takes up most of the shorter act two; act one offers a more familiar set of scenes of young lovers struggling against the preemptory rights of age and money. In fact, that first act contains many eerie foreshadowing of Barbieri di Siviglia, including the tenor suitor's disguised entrance into the house of his beloved, aided by that home's servant.

The score cannot compete with that of the later masterpiece, but the music remains fresh and energetic throughout.

Esposito, working with a cast of no great distinction, manages to make the performance come to life, mainly through his clever design. No one would mistake this for a Metropolitan Opera production. Clearly the theater is small and the budget tight. Necessity has engendered much creativity, however. Three large frames, representing different rooms and/or locales, dominate the stage. Within each frame are carefully selected props that truly evoke the required milieu — the kitchen setting in act one, with realistic steam seeping through pot lids, serves as just one example.

Most importantly, Esposito has sought out ways to keep the stage picture as fresh as the energetic action. So that sometimes only one of the frames is used, or two at other times too. In some scenes the chorus appears behind a long row of smaller frames, making for am amusing row of portraits. Through a variety of approaches Esposito keeps the action moving and still manages to set the scene. It is very well done.

Viewers may differ on whether the occasional use of film deserves as much praise. The overture accompanies some mystifying antics involving a Rossini bust come to life. Later, as the buffoonish older suitor imagines with horror the supposed male he has been romancing, we see that character (mezzo-soprano Olga Voznessenskaia) with full beard, entertaining a bevy of nymphs. (this is before the "knife" — here scissors — but surely a bearded youth wouldn't have a voice worth preserving through such extreme measures!)

Similarly, including the audience seating area in the action smacks a bit of desperation for innovation. The general spirit of fun allows for a forgiving spirit, however.

If only that spirit could extend to the reaction to the singers. The older suitor, played by the youthful Luciano Miotto, is decent enough, both as actor and singer. The other two leads leave much to be desired. The tenor, Vito Martino, is the anti-Juan Diego Florez — having neither that great singer's charming appearance or sweet, fluid instrument. One can only imagine how much more rewarding this performance would be with a more effective tenor.

Voznessenskaia, the supposed castrato in love with the tenor and eager to escape the clutches of the "basso comico," possesses a dark, heavy contralto, which belies the supposed youthful femininity of the character in the first act. The second act masquerade might be more believable with such a voice. Suffice it to say, when this contralto and tenor get together, the resulting duet makes for some uncomfortable listening.

The DVD has one large demerit — the titles, at least in English, are even worse than usual. One may become accustomed to the typical DVD's odd spelling or wayward syntax. Here, however, the shoddy translation makes some of the story incomprehensible. Surely someone can do better than "A man without a head in his head" or "Life don't out of me!" On the other hand, sometimes the mangled English becomes quite poetic as the mezzo decries the "frenetic delirium of a pygmy thinker" and the basso worries that he is engaged to a cross-dresser with "a rock beneath the waves." Ouch!

A mixed bag, therefore. On a vocal level, this L'Equivoco Stravagante can't merit a recommendation. As an example of what a truly creative director can do under less than ideal circumstances, the DVD provides much to ponder, and even enjoy. And Francesco Esposito deserves credit for that.

Chris Mullins
Los Angeles Harbor College

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):