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

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.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

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.

Otello at ENO

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.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

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):