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

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

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):