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Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.
The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.
Stage director Pierre Audi is not one to be strictly representational in his story telling.
Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
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.
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.