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

Pascal Bertin, Damien Guillon and Brigitte Hool (Copyright Nice Opera)
20 Mar 2007

Teseo — Handel by the Sea

Nice Opera, on the French Cote d’Azur, seemed a most suitable place for this early work by Handel.

G. F. Handel: Teseo

Opéra de Nice, 18 March 2007
Photo courtesy of Opéra de Nice

 

The opera house itself is a stone’s throw from the Mediterranean and, with the pale blue shallows merging into the proverbial “wine dark sea” of legend beyond, it didn’t take much of a leap of the imagination to envisage these waters carrying the ships of Theseus, Aegeus and Medea to their immortality. Helping this conceit along was the fact that this particular production designed by Gilbert Blin and conducted from the violin by Gilbert Bezzina pulled absolutely no punches in terms of the oft-maligned term “authentic”. If the great man himself had time-travelled from 1714 to 2007 and walked into the theatre as the curtain rose, he surely would have nodded approvingly at everything he saw beyond the footlights and, mostly, heard from the pit.

Make no mistake; this was very serious opera seria. From the painted clouds to the bewigged and silken-gowned protagonists, from the hand-shaken thunder machine to the monsters rolled on from the sides, this was as near to an authentic experience of baroque opera as might be achieved today. Its quaint charm - not to mention the gorgeous stuffs of the costumes - beguiled the eye at every turn. So much so in fact, that it was all too easy to almost ignore occasional vocal lapses that elsewhere in a starker, more real-politik, setting might have been more prominent.

These lapses were highlighted by the fact that in terms of even Handel’s soundscapes, Teseo is unusual. There is no bass or tenor role, and the characters are sung by sopranos (both male and female), mezzo-sopranos and, today, counter-tenors. When the mixed chorus including lower voices occasionally makes a vocal entrance it thus has a surprisingly sonorous effect. The mainly French speaking cast of principles are not widely known beyond western Europe: soprano Brigitte Hool as the heroine Agilea, who loves Teseo, the returning warrior to the court of King Egeo, was by far the most accomplished and appealing of voices on display with a nice line in delicate ornamentation, good diction and a charming stage personality. In contrast, the wicked-witch character of Medea, that epitome of woman-wronged and vengeful, sung by mezzo soprano Aurelia Legay, was anything but delicate – except in volume which was sadly lacking in the early Acts. By the fourth and fifth she seemed to have found her full voice, but a little late. Egeo, not a large role, was sung by the very experienced French counter-tenor Pascal Bertin who showed a real baroque feel for this music, if not exactly setting the stage alight with his vocalism. The “sub-plot” pair of lovers, so often used by Handel to fill out the stories and the score, were sung by soprano Valerie Gabail (Clitia) and young French counter-tenor Damien Guillon (Arcane). The latter was certainly the most exciting discovery of the performance with a firm vocal production, consistent through the range, and with true alto warmth with no hootiness or recourse to root voice. A young man to watch in this field. Of the principles, that leaves the title role, and here there was disappointment. Having heard male soprano Jacek Laszczowski sing this role in England last year, it was perturbing to hear his obvious vocal problems throughout this production. They seemed to centre on his inability to produce his male soprano effectively in the lower reaches of the recitatives and ariosi. The sounds produced then were not pleasant – in contrast to some of his arias where when he sang at the top of the staff and beyond and his voice produced both beautiful pianissimos and clarion fortes. Let us hope that this is a temporary situation.

Apart from the singers and costumes, much of the authentic feel of this production came from the musical support of the “Ensemble baroque de Nice” – one of the major baroque groups in southern France – ably if somewhat pedantically led from the violin by their Director, Gilbert Bezzina. One could not argue with his reading of the score, but his tempi sometimes dragged down an already-top-heavy (if only by the huge wigs) staging even more than was perhaps inevitable.

Sue Loder © 2007

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):