22 Sep 2005
DONIZETTI: Francesca di Foix
Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.