Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Rolando Villazón and Marie-Ange Todorovitch
18 Jan 2006

A NICE COUP: VILLAZÓN in his first “WERTHER”

The French city of Nice has this past week been enjoying some wonderful weather and the aptly-named Cote d’Azur has truly lived up to its name.

This was fortunate, as its opera house, built around 1828 in a style reminiscent of a scaled-down Opéra Garnier, has been playing host to many first-time international visitors who have been lured by the mouth-watering prospect of hearing Rolando Villazón, hot young tenor of the moment, in his first “Werther”.

Villazón has already gained some outstanding reviews and praise from the sternest critics around the world for his performances in such works as Rigoletto, Romeo et Juliette, La Traviata and les Contes d’Hoffmann. He is already spoken of as “the next Domingo” — understandable if maybe a mite premature as this stage of his career. He is only 33, and his recent meteoric rise appears to have been sensibly planned and considered. He does indeed relate closely to Domingo, his “artistic father” (his words) who, though he never actually coaches him acts as mentor and friend to the young singer.

Audience reaction in Nice has been ecstatic and loudly vocal — perhaps too much so at the performance this writer attended when one particularly partisan group of Villazón fans in the first balcony had to be remonstrated with by a stern “Respectez la musique!” from another part of the theatre. One imagines Rolando Villazón himself was equally unimpressed. The Nice Opéra audience was obviously deeply impressed and delighted to be hearing this singer, and I wondered how such an elegant and enterprising, but essentially provincial house (with budgets to match) had managed to achieve such a coup. The answer lies in a meeting between Villazón and the producer Paul-Emile Fourny back in 2001 at the Antibes Festival. Fourny happened to remark that he wanted to stage “Werther” as soon as possible in Nice; Villazón replied that he very much wanted to add this role to his repertoire and a deal was made; luckily, I am informed, at a fee that would no longer buy this artist’s time! Of course, the advantage for Villazón is that he has been able to try out an important new role in a smaller house before submitting himself to critical review on the larger stages of the world.

Both the role and this simple but satisfying production suit Villazón perfectly, playing to his strengths and offering him ample scope to display his musical and histrionic abilities. The young Mexican certainly has the ‘physique du role’ — slim, athletic, and an elegant mover on stage, he transmits the kind of emotional vulnerability essential for this tortured young lover who is cruelly denied his dream. Perhaps it is the combination of ringing clarity and the ability to offer every nuance of expression that impressed most. The voice has a thrilling, easy top, and his delicacy and refinement in the role’s many quieter, reflective moments were matched by a most intelligent response to the words. Every line was delivered with complete understanding of, and immersion in, the character. Werther will surely become a most important role for Villazón and with good reason.

Of the other singers, the mezzo Marie-Ange Todorovitch as Charlotte was the most impressive. She has a handsome stage presence and is a sympathetic actress — and once under full control her big, dark voice brought real intensity and power to the emotionally fraught scene in Act 3 where she fully deserved the warm ovations after the “Air des Lettres” and “Air des Larmes”. She also rose magnificently to the demands of the intensely dramatic final scene and was, along with her illustrious partner, intensely moving. Andre Cognet was a forthright Albert and Sophie was sung with quintessential French spirit by Valérie Condoluci. Of the remainder, Jean-Luc Ballestra offered a promising baritone voice and stage presence and Michel Trempont brought his maturity and rich tones to a satisfying portrayal of the Le Bailli.

The conductor was the well-regarded Patrick Fournillier who was obviously firmly in control of the orchestra and in absolute sympathy with his singers. His shaping of the Entr’acte between Acts Three and Four was particularly dramatic and appealing. The choir of children was perfectly schooled and musically correct, yet also natural — not easy to achieve. The production, sets and lighting were of a suitably elegant nature, if not presenting the audience with any great visual challenges or delights. The final scene was slightly reduced in impact by an upstage procession of the children and minor characters — an interesting device but essentially misconceived in this writer’s opinion as all concentration should surely be on the dying lovers, with the outside world kept only to an aural presence.

However, minor distractions apart, this was a most exciting and successful production of Massenet’s great work and one in which the visiting star, supporting singers and musicians rose admirably to the occasion. Nice Opéra are to be congratulated — let us hope we see more such enterprising events presented here.

© Sue Loder 2006

Click here to view a larger image.

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):