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

Francesco Cilèa
06 Mar 2007

OONY Performs Cilèa’s L’Arlesiana

It is well known that the Opera Orchestra of New York’s performances are required events for opera aficionados to hear the the most exciting performances of the season.

Francesco Cilèa: L’Arlesiana
Opera Orchestra of New York, Carnegie Hall, 21 February 2007

 

OONY Music Director Eve Queler’s personal magnetism (and no doubt hard work) attracts a rich array of talented operatic voices, both of the internationally known and more fledging variety, in order to perform rarely performed gems that have fallen out of—or have never made into—the opera repertory.

Most recently, OONY presented Francesco Cilèa’s L’Arlesiana, a lyric drama in three acts, on Wednesday, February 21, 2007 in Carnegie Hall. Cilèa’s opera, which was premiered in 1897 by Teatro Lirico in Milan, is based on the same Daudet play for which Bizet wrote incidental music that is still popular. The libretto for L’Arlesiana was created for Cilèa by Leopoldo Marenco.

The opera portrays the story of Federico, a handsome young man who is smitten with a woman from the nearby town of Arles. The first act reveals that the woman’s character is suspect, and that her love for Federico is quite likely feigned as she has compromised her purity with the stableman Metifio. Ultimately, despite the interventions of his mother, the local girl Vivetta, and the advice of the wise shepherd Baldasarre, Federico is plunged into a jealous frenzy over the Arlesian and takes his own at the end of the tale.

Most of the cast performed well, though perhaps not with all the musicality and flair that is expected from OONY. Making her debut with OONY in L’Arlesiana , Marianne Cornetti performed convincingly in the role of Rosa Mamai, Federico’s doting mother. Ihn-Kyu Lee made brief appearances as Federico’s rival—an ill-mannered stableman also obsessed with the woman from Arles, who never makes an appearance nor is named beyond “L’Arlesiana.” Weston Hurt performed the role of Baldasarre with charm and wooed the audience with his warm voice, which befit the role of the wise, older shepherd. Collette Boudreaux played the L’innocenza—Federico’s simpleton younger brother.

This third performance of the season was the last opera-in-concert of the 2007 – 2008 series; however, those who attended will be glad to know that Latonia Moore, who made her OONY debut as Vivetta in L’Arlesiana, will also be showcased in a recital on May 3, 2007 with OONY as the 2007 Vidda Award recipient. The Moore graduated from the Academy of Vocal Arts in Philadelphia, was acclaimed as Micaëla in the New York City Opera production of Carmen earlier this season. Moore’s performance in L’Arlesiana indicates that big things will happen for this young soprano who has many debut performances in the U.S. and in Europe coming up in the next season.

The most generous portion of the applause for the evening went to the young tenor, Giuseppe Filianoti as the lovelorn Federico. Filianoti made his Metropolitan Opera debut in 2005 as Edgar in Donizetti’s Lucia di Lammermoor, but L’Arlesiana was his only appearance in the U.S. this season. The tenor aria “Lamento di Federico” is featured in many tenors’ repertoires, although the rest of the opera is rarely performed. Filianoti’s interpretation of this aria that helped sparked Caruso’s career more than a century ago caused the house to erupt into applause so enthusiastic that Filianoti repeated the aria. A gentleman near me remarked somewhat incredulously, “It was even better the second time!”—a sentiment with which I fully agree.

Megan Jenkins

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):