Recently in Redbox
Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
It would seem a logical step for the mezzo-soprano Kate Lindsey to take on
the role of the Composer in Richard Strauss’s Ariadne auf Naxos.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
The economics of the recording companies dictate much that is not ideal.
Wagner’s operas were not composed as they were in order to permit the
extraction of bleeding chunks, even on those occasions when strophic song forms
“Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s’ammanti!”. Verdi’s Nabucco at the Royal Opera House respected the spirit of the opera.
In the final of scene of Götterdämmerung in a new production at
the Staatsoper Berlin, Brünnhilde appears in a flowing pink gown just as the
music has modulated and penetrates the hall of the Gibichungs, represented by
rows of glowing translucent boxes that preserve the dismembered limbs of their
When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.
Samson and Delilah is the only opera by Camille Saint-Saens that is
still regularly performed. He had written two previous operas and would write
several more, along with a long list of instrumental pieces including The
Carnival of the Animals.
Michael Mayer’s glitzy neon lights production, set in Rat Pack-era Sin City, proves a fitting backdrop for an opera about a curse
Joyce DiDonato brought her Drama Queens tour to the Barbican Hall last night, 6 February 2012. Accompanied by Il Complesso Barocco, directed by Dmitry Sinkovsky, she enabled us to hear a wide range of arias by mainly Italian baroque composers from Monteverdi to Handel, by way of Porta, Cesti, Orlandini and Hasse.
Born to a very poor family in 1797, Gaetano Donizetti was lucky enough to become the pupil of Johann Simone Mayr, the Maestro di Capella of his native city, who recognized his talent and made sure he received appropriate instruction.
The Met’s opulent and well-sung Maria Stuarda cannot overcome its insipid libretto.
Once a mainstay of the repertory L’Italiana in Algeri now usually gives way to Il Turco in Italia when an opera company wants to give Il barbiere di Sivigllia and La cenerentola a rest.
Well, so many don’t nowadays, it appears to me, judging by the critical
reception of Robert le Diable at the ROH. Rum-ti-tum? We recall
Macbeth, Rigoletto, Trov and even Trav being characterised
thus, popular fare but risible or blush- making, yet those works now command
the highest respect.
This recital, which focused on a narrowly specific time and place —
1888-1933 Vienna — paradoxically illuminated not only the musical scope and
richness of that epoch but also, as Renée Fleming notes in her prefatory programme article, the extraordinary extent of the diversity, transformation and flux, both historical and cultural, that characterised the era.
They say that there’s nothing worse than a musically-obtuse staging of any opera to put a rookie opera-goer off a composer (or even opera itself) for life.
Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment.
When tenor Michael Spyres takes the stage at Carnegie Hall on December 5th, he will be in heady company.
After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain.
24 Oct 2005
Victorien Sardou — A Tale of Two Operas
Victorien Sardou (1831-1908) was a popular French dramatist during the later half of the 19th Century. He, along with Eugène Scribe, combined melodrama and realism to a produce a more serious form of drama that emphasized careful plot construction.
This style is generally referred to as “well-made plays.” He was seated at the Academy in 1878. His initial efforts were poorly received. Through the connections of his wife, Pauline Virginie Dejazet began to perform his plays that enabled her to perform youthful roles even at the age of 65. Sardou then began writing plays for Sarah Bernhardt, which include Fédora (1882) and La Tosca (1887). Sardou’s close connection with Bernhardt has been criticized:
[T]he career of one of the very best endowed theatrical composers of the nineteenth century, the late Victorien Sardou, has been molded and restricted for all time by the talents of a single star performer, Mme. Sarah Bernhardt. Under the influence of Eugene Scribe, Sardou began his career at the Theatre Francais with a wide range of well-made plays, varying in scope from the social satire of Nos Intimes and the farcical intrigue of Les Pattes de Mouche (known to us in English as The Scrap of Paper) to the tremendous historic panorama of Patrie. When Sarah Bernhardt left the Comedie Francaise, Sardou followed in her footsteps, and afterwards devoted most of his energy to preparing a series of melodramas to serve successively as vehicles for her. Now, Sarah Bernhardt is an actress of marked abilities, and limitations likewise marked. In sheer perfection of technique she surpasses all performers of her time. She is the acme of histrionic dexterity; all that she does upon the stage is, in sheer effectiveness, superb. But in her work she has no soul; she lacks the sensitive sweet lure of Duse, the serene and starlit poetry of Modjeska. Three things she does supremely well. She can be seductive, with a cooing voice; she can be vindictive, with a cawing voice; and, voiceless, she can die. Hence the formula of Sardou's melodramas.
His heroines are almost always Sarah Bernhardts,-luring, tremendous, doomed to die. Fedora, Gismonda, La Tosca, Zoraya, are but a single woman who transmigrates from play to play. We find her in different countries and in different times; but she always lures and fascinates a man, storms against insuperable circumstance, coos and caws, and in the outcome dies. One of Sardou's latest efforts, La Sorciere, presents the dry bones of the formula without the flesh and blood of life. Zoraya appears first shimmering in moonlight upon the hills of Spain,-dovelike in voice, serpentining in seductiveness. Next, she is allowed to hypnotise the audience while she is hypnotising the daughter of the governor. She is loved and she is lost. She curses the high tribunal of the Inquisition,-a dove no longer now. And she dies upon cathedral steps, to organ music. The Sorceress is but a lifeless piece of mechanism; and when it was performed in English by Mrs. Patrick Campbell, it failed to lure or to thrill. But Sarah Bernhardt, because as an actress she is Zoraya, contrived to lift it into life. Justly we may say that, in a certain sense, this is Sarah Bernhardt's drama instead of Victorien Sardou's. With her, it is a play; without her, it is nothing but a formula. The young author of Patrie promised better things than this. Had he chosen, he might have climbed to nobler heights. But he chose instead to write, year after year, a vehicle for the Muse of Melodrama, and sold his laurel crown for gate-receipts.
[Clayton Hamilton, The Theory of the Theatre and Other Principles of Dramatic Criticism
, New York: Henry Holt & Co., 1910]
His later plays tended to have an historical setting. La Tosca, for example, takes place in Rome while the Battle of Marengo (14 June 1800) is being fought in the Piedmont between Napoleon and the Austrians.
Sardou’s plays were highly sought after as librettos for operas. The two operas chosen here are Giacomo Puccini’s Tosca and Umberto Giordano’s Fedora. They have been chosen not merely to illustrate how two composers approached Sardou’s well-made plays, but to show how one succeeds masterfully while the other achieves at best mixed results.