22 Sep 2005
DONIZETTI: Francesca di Foix
Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one
A case in point is the melodramma giocoso entitled Francesca di Foix (1831). For instance, William Ashbrook, perhaps the most noted interpreter of Donizetti’s career, deemed this score “largely inconsequential,” suggesting as well that it was “not the expected sequel to Anna Bolena” (1830) and that it must have been composed with “minimal exertion.” The current re-examination of opera’s narrative has compelled scholars to take a different approach. No longer is it protocol to separate out works that somehow seem apart from the norm; rather it is important, especially in light of slow but steady publication of sets of critical editions, to acknowledge each work as a step in a composer’s compositional development. Hence, a recording of Francesca di Foix, especially one as well-performed as this latest addition to Opera Rara’s CDs of the works of Donizetti, becomes as important as it is entertaining.
Francesca di Foix was written for performance at the San Carlo in Naples for the onomastico or name day of Ferdinando II. Jeremy Commons, author of the CD liner notes, seems surprised by the subject of the work: it revolves around jealousy rather than love. Given the importance and international vogue of French opéra comique, the libretto, based on a subject set by Henri-Montan Berton, hardly seems out of place at all. Furthermore, the history of Donizetti’s opera speaks to its popularity. The gala starred the most important baritone of the primo Ottocento stage: Antonio Tamburini (who, let it be noted, sang the role of the King, the character who not only sorts of Francesca’s problems with her husband but who would have symbolized Ferdinando). Given that there was no such thing as an operatic repertory, it is unfair to judge the quality of Francesca’s music on its seven-performance run. Moved to the Teatro Fondo from the massive venue in which it was premiered, it nonetheless was returned to the San Carlo, where it was sung three more times. Its future after that is predictable; since occasional pieces generally were associated with the celebrations for which they were commissioned, it is highly unlikely that Donizetti would have considered offering his name-day present to the ruler of the city in which he was employed to theaters outside of Naples. He may have gained nothing more than fame from the work, but the fact that he plumbed it later for self-borrowings suggests that he was confident about the score. The comment of music publisher Guglielmo Cottrau (“the music is very feeble”) can easily be explained away; it was par for the course, indeed obligatory for publishers to speak ill of the music of composers in whose works they did not deal (in fact, Cottrau would not publish Donizetti’s music until later).
Assuming that Patric Schmid and Robert Roberts’ performing edition, based on the holograph score at the Naples Conservatory, has preserved the work’s historical integrity, Opera Rara’s Francesco di Foix is a delight. The recording’s cast features a now-familiar set of performers who excell in this repertory. Among these regulars are Annick Massis, Bruce Ford, Pietro Spagnoli, and in another “breeches role,” Jennifer Larmore, all joined by Alfonso Antoniozzi. One comes to expect the highest quality from this core group and no one disappoints in this production. Particularly notable is Massis’ rendition of the cabaletta “Donzelle, si vi stimola,” a perfect example of the some of the inventive elements in this score. Massis and Ford offer a spectacular rendition of the stretta “Quante son delle civette” of Francesca and the Duke’s duet. As usual, Larmore’s performance is consistently excellent as is Spagnoli’s. If it is Opera Rara’s intent (and one must go by the liner notes in this case) to highlight Francesca di Foix as an opera semiseria, Antoniozzi’s interpretation, heard even in his entrance, “Che vita, della caccia” emphasizes the buffo elements of his role a bit too strongly. On the other hand, this interpretation may serve well for it allows listeners to link this score with roles like Dulcamara and Don Pasquale. Finally, the Geoffrey Mitchell Choir offers non-intrusive but substantive support that is right on the mark.
Francesca di Foix is no inconsequential work; rather it is a gem in miniature, featuring all of the stylistic elements of primo Ottocento opera in one single act. Kudos to Opera Rara for (re)introducing it to the world.