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 Redbox

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

A dance to life in Munich’s Indes galantes

Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Lalo: Complete Songs

Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

Boris Godunov, Covent Garden

‘And therefore never send to know for whom the bell tolls; it tolls for thee.’ John Donne’s metaphysical meditation might have made a fitting sub-title for Richard Jones’s new production of Musorgky’s Boris Godunov at the Royal Opera House — the first performance in the house of the original 1869 score.

Félicien David: Herculanum

It is not often that a major work by a forgotten composer gets rediscovered and makes an enormously favorable impression on today’s listeners. That has happened, unexpectedly, with Herculanum, a four-act grand opera by Félicien David, which in 2014 was recorded for the first time.

HOT Dream in Honolulu

In a world opera schedule packed with safe bread-and-butter warhorses, Hawaii Opera Theatre gambled on a Britten rarity and came up smelling as sweet as a tuberose lei.

Norma , ENO

Notable first performance of Bellini's opera by ENO, with a striking assumption of the title role from the young American soprano

OPERA TODAY ARCHIVES »

Redbox

Antonio Vivaldi: Tito Manlio
01 Oct 2006

VIVALDI: Tito Manlio

Tito Manlio (Titus Manlius), dramma per musica in 3 acts. Music composed by Antonio Vivaldi (1678–1741) based on a libretto by Matteo Noris (? – 1714).

Antonio Vivaldi: Tito Manlio

Nicola Ulivieri (Tito), Karina Gauvin (Manlio), Ann Hallenberg (Servilia), Marijana Mijanovic (Vitelia), Debora Beronesi (Lucio), Barbara Di Castri (Decio), Mark Milhofer (Geminio), Christian Senn (Lindo), Accademia Bizantina, Ottavio Dantone (cond.)

Naïve OP 30413 [3CDs]

$33.99  Click to buy

First Performance: 20 February 1719(?), Teatro Arciducale, Mantua.

Principal Characters:
Tito Manlio, Consul of RomeBass
Vitellia, lover of GeminioContralto
Manlio, lover of Servilia and son of Tito ManlioSoprano
Lucio, the Latin lover of VitelliaMezzo Soprano
Decio, Captain of the FalangiMezzo Soprano
Lindo, servant to VitelliaBass
Geminio, Captain of the Latins and lover of VitelliaTenor
Servilia, sister of Geminio and fiancée of ManlioMezzo Soprano

Background:

Here we present Antonio Vivaldi's Tito Manlio (RV 738-A), as performed under the direction of Ottavio Dantone and released by Naïve as part of its Vivaldi Collection. The libretto to Tito Manlio was written by Matteo Noris in 1696 for performance at the Grand Prince Ferdinando de’ Medici’s theater at his villa in Pratolino. The music was composed by Carlo Pollarola, which was performed in Venice for several consecutive seasons. Thus, when Vivaldi took up the libretto in 1719, it had been in circulation for more than 20 years.

The source of the libretto is from Book VIII of Livy's The History of Rome. Noris, however, takes considerable license in departing from the facts and, indeed, the underlying rhetorical point presented in Livy's account.

Two essays are presented on this work. The first is by Professor Beth Glixon entitled "Pratolino, Venice, Mantua: Musings on Vivaldi’s Tito Manlio (1718/19)," which, among other things, compares the setting by Pollarola with that of Vivaldi. The second is by Professor Andrew Dell'Antonio entitled "Pairing and Elaboration," which looks at the manner in which Vivaldi "implements by musical means the dramatic coupling of the two female roles in the libretto."

Links:

Synopsis:

Titus Manlius is engaged in war with the people of Latium. Conflicts of love and duty arise, with his daughter Vitellia in love with the Latin commander Geminius, but loved by the Latin Lucius. Manlius, the son of Titus, kills Geminius, disobeying his father, and is condemned to death, in spite of the pleas of his beloved Servilia, sister of Geminius. He rejects the offer of Lucius to free him. There is eventual reconciliation between father and son.

[Synopsis Source: Naxos.com]

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):