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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

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.

OPERA TODAY ARCHIVES »

Performances

Eve Queler
09 May 2006

MONTEMEZZI: L’amore dei tre re

What happened to Italo Montemezzi’s L’amore dei tre re? After the opera’s triumphant premiere at La Scala in 1913, Montemezzi was vaulted into the international limelight, and his creation enjoyed regular performances throughout the world until his death in 1952.

Since then, the opera’s popularity has eroded severely, and now it lingers on the outermost fringes of the canon, emerging from time to time like an elderly lion to remind us that it, too, once held audiences in thrall with its roar. One of the surest signs of L’amore’s near-obsolescence is the simple fact that the Opera Orchestra of New York decided to conclude its 35th anniversary season at Carnegie Hall with a performance of the work. Eve Queler’s organization has made its name over the years by reviving neglected operatic scores, and its concert presentation of L’amore on 4 May was no exception.

The reason for the opera’s fall from grace cannot have much to do with its actual merits. By any standard, this is a powerful and well-crafted work, both musically and dramatically. Sem Benelli’s libretto is a naked melodrama of raw emotion elevated and concentrated by its archaic setting in 10th-century Italy. The barbarian king Archibaldo is suspicious of his son Manfredo’s new bride, Fiora. The suspicion is justified: Fiora has been secretly trysting with fellow Italian Avito, the man she was supposed to marry before the barbarians conquered their homeland. Archibaldo’s blindness prevents him from discovering Fiora in flagrante delicto, but when she finally admits her transgression to him and refuses to reveal her lover’s identity, the king strangles her. In the opera’s final act, Avito kisses Fiora’s corpse, but he dies from the poison the barbarians have placed on her lips. Manfredo, unable to master his grief, cannot restrain himself from kissing Fiora as well, and the opera concludes with Archibaldo holding his dying son in his arms.

Montemezzi’s music fills out this tale of betrayal and passion with all the high-stakes energy it can bear, yet the score never devolves into hysterics. Although it clearly lives within the borders of verismo, the opera owes more than a little to Wagner and Debussy. There is a distinctly Wagnerian swagger to the end of Act One, for example, as Manfredo takes Fiora to bed and Archibaldo laments his son’s ignorance. And when Fiora defiantly confesses her guilt to Archibaldo at the heart of Act Two (“Allora...Allora...Quello ch’io baciavo”), it is hard not to think of the similarly electric moment in the second act of Parsifal when Kundry drops her seductress routine and finally confronts Parsifal with the truth about her identity. Meanwhile, the evocative orchestral atmospherics of the opera call Pelléas to mind, and certainly Benelli’s storyline and dramatis personae refer back to Maeterlinck’s drama. Nevertheless, the opera is quintessentially Italian in its approach. All the characters are fully aware of their motivations, and as they maneuver toward their aims, their emotions surge directly to the surface, finding expression in line after line of wide-ranging, ardent melody. Today, with our predilection for late Wagner and Pelléas, we expect a story like this to receive an elusive, psychologically layered musical treatment. Perhaps this tacit assumption can help to explain why Montemezzi’s opera has not managed to retain its allure over the past half-century. In any case, it certainly deserves attention on its own terms.

Even if the opera’s overall quality was in doubt, no greater excuse could be proffered for its revival than to give Samuel Ramey the opportunity to sing the role of Archibaldo. Ramey’s performance on Thursday night was strong and self-assured, and yet there was room in his interpretation of Archibaldo for hints of the self-pity and despair that sap the soul of this blind and aging king. Ramey’s voice, on the other hand, seems not to have aged much, at least not on this occasion. His bass sound, rich and unforced, filled the hall throughout the evening, and the climax of his first-act aria (“Italia! Italia!...è tutto il mio ricordo!”) was thrilling. As Fiora, the soprano Fabiana Bravo seemed content at first to indulge in histrionics rather than tap into the considerable resources of her instrument. Her weak Callas impersonation, peppered with the usual gasps, sobs and wails, was applied just as assiduously to her love duet with Avito in Act One as it was to her dissimulating dialogue with Manfredo at the beginning of Act Two. As the second act progressed, however, Bravo let her voice do the work, and it soared. The iron core of her middle range communicated Fiora’s resolute pride, while the glitter of her high notes made us understand what attracted these men to her in the first place. Fernando de la Mora (Avito) was the only principal who sang his role from memory, and the deeper level of dramatic commitment on his part was evident and much appreciated. Unfortunately, his quintessential lyric tenor voice, naturally honeyed and supple, was pushed beyond its limits in many places, and the result was diffuse and flat. Much the same could be said of baritone Pavel Baransky in the role of Manfredo.

It’s hard to blame these singers for overexerting themselves, however, since Maestro Queler never accommodated them by limiting the sound of her orchestra. Concert presentations of opera always come up against the problem of balance, but for this performance Queler seems to have ignored the problem altogether. Still, the orchestra made its way through the score without too much calamity, and some of the players memorably rose to the occasion in featured moments (the flute solo in Act One, the viola solos in Act Three, the offstage trumpets throughout). Let’s hope that this performance inspires a few opera companies to assemble a fully-staged production in the near future.

Benjamin Binder

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):