Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

OPERA TODAY ARCHIVES »

Reviews

Gioacchino Rossini: L’Italiana in Algeri
24 Sep 2005

ROSSINI: L’Italiana in Algieri

This newly re-mastered recording was originally released in 1954 by Columbia (Qcx 10111/12), later reprinted by EMI (C163-00981/2), and it includes, besides Giulieta Simionato in the title role, three other members of the original 1953 production at La Scala: tenor Cesare Valleti, and bass Mario Petri in their respective roles of Lindoro and Mustafà and Conductor Carlo Maria Giulini.

Gioacchino Rossini: L’Italiana in Algeri

Giulietta Simionato; Cesare Valletti; Mario Petri; Marcello Cortis; Orchestra e Coro del Teatro alla Scala/Carlo Maria Giulini. BONUS: Unpublished excerpts from the Concert given by G. Simionato and C. Valletti in San Francisco – Live recordings: 1953 & 1954

Urania 22.275 [2CDs]

 

By far one of the finest comedies in the operatic repertoire, L’Italiana in Algieri has always played the “little sister” to Rossini’s more famous Il Barbiere di Siviglia, but unlike the “older sister,” L’Italiana had a successful launch, and the proceeds from its 1813 premiere season saved the Teatro San Benedetto from bankruptcy. L’Italiana in Algieri also made its twenty-one year old composer the toast of Venice. The librettist, Angelo Anelli loosely based his drama on the legend of Roxelana, a young Russian girl who in 1523 was captured into slavery by the Turks, and who later, through her guile and intrigue married the Sultan, Suleiman the Magnificent. There is another legend involving a young Italian noblewoman who was captured and sent to a harem in Algiers. The young woman was later set free and returned to Italy to, no less, sing the role of Isabella!

As was the custom in the nineteenth century and before, L’Italiana had previously been set to music by another composer, in this case Luigi Mosca, in 1808.

After a somber but comical beginning symbolizing the Sultan’s omnipresence, the overture which Stendhal considered frivolous, quickly and effectively mixes the love and mad cap themes in the opera, bringing to mind the different characters and situations in the opera.

Mario Pietri in the role of Mustafà sets the tone in the opening scene: a bit gruff, but gentle. His basso voice is well suited for this role, as is his perfect timing and comic mastery. A young Graziela Sciuti in the role of Elvira, delivers a delicate and solid performance as Elvira, the Sultan’s rejected love interest. Her crystal clear soprano shines in the Quintetto of Act 1. Baritone Marcello Cortis delivers a fine performance as the quintessential pompous and elderly suitor, Taddeo; however of all the principals, his is the least interesting rendition.

Of special notice is Cesare Valetti, a key participant in this recording. His Lindoro is expressive and graceful without being weak or affected, and from the start of his opening aria “Languir per una bella,” Valetti’s brilliant lyric voice soars over the orchestra with ease. There is no need for Valetti to worry over other younger singers of today in this role. Many speculate that operas are neglected for lack of female voices to carry the work, but in the case of L’Italiana one would venture to include the lack of tenors like Valetti.

Giulietta Simionato is somewhat limited in her coloratura, but her fluid singing, masterful technique, and elegant phrasing show her as a qualified and adept performer of Rossini’s and early nineteenth century music. In fact, it can be argued that Simionato’s participation in the revival of these early operas paved the way for future generations of singers. A great Dalila, Amneris, Mignon, Carmen and Azucena among others, Simionato is perfectly at ease in lighter roles, having successfully sung a number of comedies before taking on the role of Isabella.

Simionato imbues Isabella’s “Cruda sorte” with the fragility of a lost, bewildered young woman in search of the man she loves—a lullaby in sharp contrast to the subsequent “Qua ci vuol disinvolture” in which Isabella sheds her innocent image to disclose her determination and true intentions. In “Oh! Che muso, che figura!” rather than addressing the listener with mocking intentions, as the aria is often sung, Simionato, very effectively, almost whispers the words to herself, going back to the image of the bewildered young woman, as though she were laughing with, instead of at Mustafà’s unpleasant appearance. Her high notes are never forced, and her chest notes are natural. Likewise, her interpretation of “Per lui che adoro” is lovingly slow and deliberate, leaving one wandering who the recipient of her lament really is—just as intended by Rossini.

The music and story are fast paced, providing the audience with one musical situation after the next, and Giulini conducts with restraint and attention to detail—thus the nuances in the score are never lost or overshadowed by unnecessary embellishments or loudness. Rossini’s melodic invention is evident throughout, as is his superb use of the sound of the language in the riotous finale to Act 1, in which all the characters relate their state of mind to a sound, which the composer parallels to an instrument in the pit. The cast and orchestra are superb in the handling of this situation, capturing the Rossinian genius with an engaging verve, yet never overpowering one another.

Not only is this a delightful opera, overflowing with the composer’s magic, but all the interpreters are in top form, making for a most enjoyable listening experience. Though there are some cuts—few operas were not “cut” throughout the first half of the twentieth century—the recording holds its own against better known, more complete, later versions of Rossini’s masterpiece.


Daniel Pardo

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):