Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

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.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

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):