Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Cavalleria rusticana/Pagliacci at DNO
29 Mar 2006

Hit and miss in Amsterdam’s Cavalleria and Pagliacci

Guy Joosten, who recently directed the Met’s new Roméo et Juliette, reworked an attempt of Cav and Pag presented at the Essen Opera for the Nederlandse Opera in Amsterdam. I cannot say he succeeded or to put it more plainly: Cav was bad and Pagliacci suffered too.

As productions of these operas go nowadays, it is almost impossible to find an eternal twin that is not intermingled. It has become almost a law unto itself that the players of Pagliacci have to be present during the performance of Cavalleria looking at a tragedy in the same place at the same time where they too, unknowingly, will suffer. That was the way the operas were directed some years ago at De Munt in Brussels and that’s the cliché Joosten cannot do without. Well, it would be more or less acceptable if there would be any consistency in his production; but that’s the one feature that’s conspicuously lacking.

Cavalleria is, of course I almost say, not played in a village but in a Sicilian city market place with dozens of apartments in the background. It clearly plays at the end of the sixties or during the seventies as there are playbills for a movie by Fellini. Moreover all men and women are clothed in black, a phenomenon now almost completely gone from Sicily. But at the same time those men and women make a series of lewd gestures telling Alfio he is a cuckold during his aria, which no Sicilian woman in those days would ever have dared to think of. Alfio is clearly too dumb to understand these clear implications and has to wait another half hour before Santuzza tells him what fifty others have graphically showed him earlier.

Pagliacci is performed in the same venues, still with the Fellini playbill. Nevertheless, during the foolery in the second act, Nedda lies stretched on a table with Beppe climbing on her and mothers speeding their children away. Until a few years ago, any wandering troupe performing these acts in Sicily would have been in jail in the shortest time. I howled with delight when Joosten had someone cycling on the scene. There are people with bicycles in Sicily preparing for competition; but I have yet to see the first Sicilian riding a bike as if he is in Amsterdam. Then anybody vaguely familiar with Italy knows all too well the balcony scenes that always take place. Still, while murder and adultery is taking place in front of all those balconies, nobody is ever watching. Joosten, who is as Flemish as this reviewer, may be an unbeliever (as is this reviewer). But, as all Flemings, he has a catholic background and, therefore, he shouldn’t ask the whole chorus to kneel down when the statue of Our Lady is carried along in procession. Catholics indeed kneel, but only at the moment the priest appears with the Sacrament.

Allow me some leeway as recently there was a long discussion on a well-known operatic forum on Santuzza’s twice-repeated phrase, “I’m ex-communicated”. The reason for ex-communication may be twofold but a first one is highly improbable. I cannot imagine the Church officially repudiating Santuzza so that she may not receive sacraments unless she repents and is once again accepted. A young peasant girl is too unimportant for such treatment. A more reasonable explanation is the fact that in Mascagni’s time catholic theology made a clear distinction between daily and deathly sins (if you died unexpectedly you went straight to hell). Such a heavy sinner was not allowed to receive the Holy Communion unless he or she had confessed and received absolution. Sex before marriage was such a deathly sin—though in Sicily men easily got away with it while women were really damned. Even if nobody knew about it, the sinner herself knew it and, therefore, couldn’t receive communion as that would only have made her position worse in the eyes of God. Santuzza cannot hide from her problems as it is Easter and that is the only time in the year a Catholic has to receive communion or otherwise he/she adds another deathly sin to his tab. “Povera Santa” thus really feels utterly desolate and betrayed. Of course, she may confess; but there is a fat chance that the priest will refuse absolution as in his Mediterranean view women are always at fault. She doesn’t want to cheat and receive communion and thinks herself ex-communicated. And that’s another problem with updating Cavalleria. During Mascagni’s time people really suffered when they thought they had sinned and refusal of redemption was a modern theme. My grandmother and her whole generation had those horrible fears of hell and damnation but by the seventies, even in Italy, youngsters of Santuzza’s age (around 20) already thought hell was risible.

Back to Joosten’s ideas. Judging by her dress, Santuzza is four or five months pregnant, without all those sharp ladies and gents noting it. But the absolute innovation of this production is the “grande finale.” While Turiddu acknowledges his mistakes, he clearly announces he will kill Alfio “come un cane (like a dog)” as he has to look after “povera Santa.” And how does Turiddu punish Alfio? He voluntary hands over his knife to the cuckolded husband and then falls upon it with Alfio’s looking sheepishly at Turiddu’s suicide. At least in Pagliacci we were spared such innovative directing and the opera ran its normal traditional course.

The musical aspect clearly showed some parallels with the production. Carol Vaness (sorry to say, but looking her age) still has a fine medium but wobbles and shrieks the moment she has to sing above the staff. The real fly in the ointment was Zoran Todorovich. He consistently sang flat with big beefy tones utterly devoid of beauty. The show had to be saved by baritone Zeljko Lucic, who had a good stage presence and the dark brown voice, though slightly underpowered, that belong to the role. Dutch Tania Kross was a splendid, sensuous (voice and figure)Lola and veteran Livia Budai a convincing mamma Lucia. Carlo Rizzi conducted the fine Nederlands Philharmonisch Orkest. Rizzi is very popular in Amsterdam while he is very adept at choosing correct tempi and he never tries to drown his singers. Still there were a few moments when pit and stage were not coordinated.

Baritone Zelkjo Lucic was even better as Tonio and Joosten allowed him to sing the Prologue before the curtain, a now almost defunct tradition that nevertheless proved its worth. The voice was by far fuller and had splendid high notes. Canio was sung very professionally by Dennis O’Neill. The Welsh tenor has now been singing for 34 years and the voice slowly changed from an almost tenore di grazia into a big lyric. On record the least one can say is that the voice is not much kissed by the mike and his Dick Johnson must be one of the worst recordings around. In the flesh, however, I was surprised by the fresh sound he produces. He is now 58 and his breath has become somewhat short. Therefore his “Vesti la giubba” was more impressive than “No, Pagliacci o non son” where he often had to break the line. He is very small and very fat and though this may be somewhat cruel he completely looks the part. Riccardo Botta made the most of the role of Beppe.

And then there were the redeeming features of this performance. Several years ago I first heard Ana María Martínez on German TV when she and another artist gave a big open air concert, Placido Domingo conducting. I was dumb-struck by the beauty of the voice in several zarzuela pieces. Not since young Pilar Lorengar had anybody sung so beautiful in that wonderful music. For a few years, it seemed as if this Puerto Rican lady wouldn’t make it to the big leagues but this, too, has changed. For her Met début, Naxos has brought out her first CD, already recorded 6 years ago. But the voice is now far richer and colourful. In the medium, it is probably the most beautiful sound around. Though she has good high notes as well, I hope she will succeed in enlarging somewhat the volume above the staff without damaging the rest of the voice. And yes she can act, too. Her duet with Silvio was one of the best experiences I had in opera for many years. And Rizzi and Martínez opened the cut in “Nedda ! Silvio!” and one wonders why those few beautiful bars for soprano are always left out. My luck went even further because young American Kyle Pfortmiller proved himself to be a find, too. A young slender man with a big booming, but very lyric and smooth, baritone should go far. Maybe some will find his vibrato a little bit exaggerated but not this reviewer. In a few years time this is a voice that could give us a father Germont and other lyric roles in the great American baritone tradition of Robert Merrill.

Jan Neckers

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):