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

Gioachino Rossini, Il Viaggio a Reims (Kirov Opera)
28 Jan 2007

ROSSINI: Il Viaggio a Reims

Rossini’s last Italian opera, staged in 1825 as a part of Charles X’s coronation festivities, is a bizarre creation — a sassy little farce capped with a coronation cantata in the best traditions of staged court entertainment, from 16th-century Italian intermedi through their Baroque and Classic operatic progeny.

Gioachino Rossini: Il Viaggio a Reims

Kirov Opera and Orchestra, Valery Gergiev (cond.)
Kennedy Center, Washington, D.C., 27 January 2007

 

This production, a combined effort of the Kirov Opera and Théâtre du Châtelet, was premiered in 2005, and has made its way to the Kennedy Center in Washington DC as a part of the Kirov’s residency here, now in its fifth year.

Minimal staging (sets by Pierre-Alain Bertola) strips the “Golden Lily Hotel” to its scaffolding, revealing the opera for what it truly is — a collection of sparkling vignettes with hardly a semblance of a plot; a glorious divertimento; a concert in costumes — but what fabulous costumes! Among costume designer Mireille Dessigy’s creations, not to be missed are the Contessa de Folleville’s outrageous hats and Corinna’s ancient regime version of fuzzy slippers. The Russian general’s garb complete with a sailor’s tunic and a white horse (yes, an actual — and impressively well-behaved — animal) is hilarious. As for Corinna’s entrance costume, capped with a fantastic feather turban and illuminated from within by flashing electric lights, it is beyond description, and would surely land some Hollywood star enterprising enough to steal it a place on the “worst dressed, yet most memorable” red carpet list. The “English golf dandy” outfit of Chevalier Belfiore, on the other hand, was funny but not particularly convincing.

The Kirov’s performance started well before the opera began, with the orchestra players (with their instruments) and singers (with their luggage) making their way to the “hotel” from the auditorium, greeting the audience in two languages (none of them Italian), and then negotiating stage space with the “cleaning crew,” mops and vacuums in hand. The conductor — maestro Gergiev himself — did not carry a suitcase, was relieved of his coat by one of the choristers, but would keep his hat on throughout the evening. Both the conductor and the orchestra (dressed in white and reduced almost to a chamber group for the occasion) were positioned on stage, with a harpsichordist placed on the proscenium and dressed up in full ancient regime regalia, complete with high heels and a powdered wig. Similarly dressed was a harpist wheeled onto the stage on a special platform whenever her services were required to accompany Corinna the poetess (the lovely Irma Gigolashvili); and a fabulous flutist (unfortunately not identified in the program) who performed her second act solo flawlessly, all the while engaged in a clever pantomimed “duet” with Lord Sydney (Eduard Tsanga). 

Throughout, the production (directed by Alain Maratrat) was filled with stage business — always energetic, often clever, and occasionally detrimental to sound production: for instance, practically nothing performed on the back section of the scaffolding (behind the orchestra) made it into the hall. On the other hand, plenty of singing (and some very funny acting) occurred in the orchestra — among the orchestra seats, that is. This clearly delighted the audience but presented a significant challenge to ensemble performance — a challenge that the young troupe, to their credit, met and triumphed over, even in the lightning-fast stretti. Overall, the vocal performance of the young cast, including some tremendously difficult passagework, was almost uniformly superior: Anastasia Kalagina as Madame Cortese impressed with the precision of her coloratura; Larisa Yudina as the Contessa proved herself a comic talent, yet was ever ready with those breathtaking E-flats. Dmitry Voropaev as Belfiore, Daniil Shtoda as Count di Libenskoff, Vladislav Uspensky as Baron di Trombonoc, and particularly Nikolay Kamensky as basso buffo Don Profondo were all excellent. Anna Kiknadze as Melibea was less impressive, but she did occasionally enjoy her moments of glory (unfortunately, the final polonaise was not one of those moments). Only Alexey Safiulin as Don Alvaro was truly disappointing: he did well in the ensembles, but the solos — including the gorgeous “fake flamenco” song Rossini had smuggled into the grand finale — were almost entirely lost. The chorus — members of the Mariinsky Academy of Young Singers — acted lustily and sang well; the orchestra sound was clean, crisp, and tastefully “classic” — in fact, barely recognizable as coming from an orchestra better known for the sweeping romantic sound of its Tchaikovsky and Wagner productions.

Grand drama devotees might find Il Viaggio a Reims annoyingly fluffy. Opera purists could object to the coloratura occasionally getting lost in the stage business or covered with the audience’s laughter. Yet, to those who think of opera as primarily a theatrical spectacle, the Kirov production proves deliciously watchable. It is just what King Charles X of France had ordered from his favorite composer — a splendid and frivolous piece of entertainment for a very special occasion.

Olga Haldey

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):