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

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.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

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

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

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.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

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

OPERA TODAY ARCHIVES »

Performances

Sarah Coburn (Photo: © George Mott/Glimmerglass Opera)
16 Aug 2007

Haydn’s L’Anima del Filosofo (Orfeo ed Eurydice) — A rare performance at Glimmerglass this summer, as part of their “Orpheus” 2007 Festival Season

On a cold winter’s day in Vienna, just before Christmas 1790, Mr. Haydn dined with Mr. Mozart for the last time.

F. J. Haydn: L’Anima del Filosofo
Above: Sarah Coburn (Photo: © George Mott/Glimmerglass Opera)

 

Within a year the younger man would be dead, and the older would be in London putting the finishing touches to an opera that never saw the light of day in full public performance until, in 1951 it was staged in Florence with Maria Callas, Boris Christoff and Tygge Tyggeson in the leading roles. This is just part of the strange story of an opera that nearly never was, because although Haydn was fully paid in advance for his version of the Orfeo and Eurydice legend by the London-based impresario and violinist Johann Peter Salomon, it became the victim of politics and critical machinations that finally prevented it from opening at all.

Haydn was happy enough with the project (being paid in advance must have helped) and described the libretto, by Carlo Badini, as “entirely different from that of Glück’s”. What he didn’t say was that said Badini was also famed for his destructive gossip and very influential critical writings which could literally make or break a theatre’s reputation at that time. In this writing of the famous tale, the story starts with Eurydice fleeing the unwanted attentions of her father’s favoured suitor for her, and becoming the focus of Orfeo’s love; however, by the end of Act One she is dead from a snake-bite. The rest of the four acts concern Orfeo’s struggle to retrieve her from Hades, his famous error, and in this version of the tale, his eventual destruction by the Bacchae women, enraged by his avowed shunning of women’s love following his final loss of Eurydice.

There were only 3 main roles in the opera that Haydn wrote — Orfeo, written for leading tenor of the time Giacomo Davide who was described later as possessing “a clear and flexible voice, with an extensive falsetto”, Eurydice, sung by soprano Rosa Lops and the Genio (an oracle/soothsayer figure) who was apparently to be sung by a not-very-good castrato of the time, possibly one Signor Dorelli. Confusingly, by the time the opera came to rehearsal, there was another role included in the MS — that of Creonte, father of Eurydice. Sadly, despite getting to dress-rehearsal, local politics prevented the King’s Theatre from opening on time and Haydn never saw his opera open to the public.

It is no wonder then that this particular operatic version of the famous myth fell into that huge abyss of “forgotten” works as the late18th century geared itself up for the immense musical developments on the horizon. Yet, it is a jewel of its time, with some stunning music as well as dramatic vigour and this 2007 Glimmerglass concert performance has been looked forward to for some time by those who remember or have heard, either Callas in ’51, the 1967 live recording by Dame Joan Sutherland and Nicolai Gedda at the Edinburgh Festival, or of course the more recent revival by Cecilia Bartoli.

However, it was rather a disappointment to find that circumstances and time constraints had yielded some pretty savage cuts here on the shores of Lake Otsego. Michael Macleod, the new General and Artistic Director, explained that he had been anxious to do something meaningful on the traditional Sunday morning slot on Gala Weekend in this his first year at the helm of the Festival Opera. What better than to maintain the ethic of Glimmerglass and make more good music with a little known take on the myth, and better still, a work by one of his great loves, Haydn? Sadly, the time available between the 11 am start and the afternoon matinee at 3 pm of the staged L'Orfeo by Monteverdi meant that the concert performance was truncated with huge swathes of recitative removed. The story was moved on succinctly but prosaically by an on-stage Narrator, and several arias also cut.

What was left seemed more a showcase for soprano Sarah Coburn, an opportunity this technically elegant singer took full advantage of. She sang the arias of Eurydice and the Genio (the latter's big number “Al tuo seno fortunate” being eerily reminiscent of Mozart's Queen of the Night’s) with precision (mostly) and vocal poise. Not exciting, but obviously well-read and produced with only fleeting glances at the score before her. Equally effective was the baritone of young Corey Crider as Creonte. Much less successful was the Orfeo of tenor Norman Shankle, who appeared both nervous and under-prepared, his hands (and eyes) never far from the printed music, and his production sounding unsure and tentative, at best. This curate’s egg of a production was held together by some nice idiomatic playing by the Opera Orchestra, with special mention going to the flutes, under the shared batons of Antony Walker and Anne Manson.

Mr. MacLeod explained afterwards that the reason for the split duties for the conductors was part of a process of selection for vacant post of the Festival’s next Music Director. Whatever the reason, it was a rather novel experience for the audience as the two conductors had two very different styles, although it was hard to split them on the resultant sound.

The performance is repeated on the 19th August.

© Sue Loder 2007

For tickets (limited availability): Glimmerglass Opera Box Office (607) 547-2255 and more information from the website: http://www.glimmerglass.org/Haydn.html

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):