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

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Alexander Mansoori (Lenia) and Ariana Wyatt (Flavia Gemmira) [Photo: Alex Irvin]
07 Sep 2007

Aspen premieres forgotten Cavalli work

A husky baritone in Speedos on a motor scooter and a buxom, purple-wigged Dame Edna drag clone — the Aspen Opera Theater Company’s staging of Francesco Cavalli’s 1667 “Eliogabalo” was off to a start that promised to equal the program’s over-the-top staging of the composer’s 1649 “Giasone” two summers ago. (AOTC director Edward Berkeley raised the curtain on that Baroque potboiler to a biker Amor on a Harley.)

Above: Alexander Mansoori (Lenia) and Ariana Wyatt (Flavia Gemmira)
All photos Alex Irvin

 

But despite magnificent singing by a huge contemporary-clad cast and the superlative musicianship of Cavalli scholar Jane Glover as conductor of a pocket-size early-instrument ensemble the promise did not hold.

Advances on the production, plus two lengthy hand-wringing essays in the Aspen program book, focused not on the opera, but on its seemingly mysterious history. In brief: Cavalli, long the darling of his day in opera-mad Venice, looked back on over 30 successes when “Eliogabalo” was all set for a carnival-season premiere in the city. Then the work was not merely cancelled, but replaced by an opera on the same decadent Roman emperor by Giovanni Antonio Boretti. And to make the substitution still more painful to the aging Cavalli his librettist Aurelio Aureli wrote a new text for Boretti. The manuscript of “Eliogabalo” — sketches of a score, as was the habit in that day of agile improvisation — was filed away in the Venice Marciana Library and forgotten for over three centuries. Cavalli wrote another two operas — both lost — and died in 1676.

AMFS073016.png

“Eliogabalo” emerged from oblivion in 1998 when an edition of the score by Roberto Solchi attracted the attention of Europe’s major master of Baroque opera Rene’ Jacobs, who made it the basis of a staging at Brussel’s La Monnaie in 2004. That production, essentially the world premiere of the work, moved on to Innsbruck and Paris and was enthusiastically celebrated by incense-burning critics throughout Europe. Indeed, Opernwelt, Germany’s leading opera periodical, declared it “the rediscovery of the year.”

It is impossible, of course, to compare the Aspen production with a staging that one knows only from written reports; one feels, however, that something was lost in crossing the Atlantic. Aspen was in no way behind Brussels in scholarship. British-born Glover, in her fifth season as music director of Chicago’s Music of the Baroque, wrote her dissertation on Cavalli and published a book on him in 1978. And she undertook her own realization of the edition of the score by Harvard’s Italian-born Mauro Calcagno, another leading authority in the field.

The Aspen production was, to be sure, impressive in its solid musicianship and in the work of a huge cast thoroughly schooled in Baroque vocal performance practices. It did, however, not radiate the excitement that one recalls from “Giasone,” and in outright fun it was light years behind the staging of Jean-Philippe Rameau’s 1745 “Platée” on stage at the Santa Fe Opera this summer. Even armed with a detailed guide through the contorted, convoluted and complicated plot and English titles it’s not easy to follow the story of depravity, intrigue and perversion that “Eliogabalo” tells.

As briefly as possible: Eliogabalo — in history the boy emperor Heliogabalus who corrupted Rome from 418 to 422 — is aided by co-conspirator underlings Lenia and Zotico in his quest for bedmates. Out to seduce Gemmira, he orders the murder of his cousin Alessandro to whom she is betrothed to achieve his goal. Five-watt-bulb Atilia is after Alessandro, and boy-about-palace Nerbulone finds himself in the middle of this mess. In the final act Eliogabalo is knifed offstage and — only the Baroque could manage a happy end after so much senseless misery, and Alessandro, the new emperor, is united with Gemmira and Eritea finds a mate in Giuliano.

Gender, of course, isn’t merely bent in Baroque stagings these days; it’s thrown on the floor and stamped upon, and that allows the director free choice of voices for a production. Yet director Edward Berkeley, long-standing mastermind of opera at Aspen, might have gone off the deep end in casting women in seven leading roles in “Eliogabalo.” That in itself resulted in a lack of contrast that contributed to the tedium of the two hour, 40 minute performance.

The lower register was thus left entirely to tenor Alex Mansoori, who stole whatever show there is to steal as Dame Edna look-alike Lenia, and to be-Speedoed baritone David Keck as court glamour boy. As the bi-sexual cross-dressing title figure mezzo Cecelia Hall was appropriately louche in both male and female attire, while soprano Christin Wismann brought happily contrasting dignity to Alessandro. Ariana Wyatt’s brilliant soprano combined with her natural beauty to make Gemmira a credible object for Eliogabalo’s raging hormones, and business-suited Ellen Putney Moore employed her dark-hued mezzo wonderfully to offer insight into Giuliano’s conflict-ridden soul.

Top vocal honors, however, went to Paris Hilton look-alike Carin Gilfry, whose well-honed mezzo made Atilia credibly human. (The only moral being in the cast was the white doggie that Gilfry carried.) Arthur Rotch’s scaled-down ruin of a triple-arched Roman gate proved a perfect set for the many on-stage machinations in “Eliogabalo,” and the superb 14-member chorus brought additional color to the cross-dressing central to the production. (Unusual in today’s Baroque stagings was the inclusion of only one countertenor in the cast, and he was relegated to the chorus.)

David-Zinman.png

Overall, however, the opening performance in Aspen’s historic Wheeler Opera House on August 14 came across much more as a magnificently prepared academic study than a knock-out evening at the opera. Rather than biting nails about the possible injustice done Cavalli in the 1667 cancellation, Aspen might better have considered that “Eliogabalo” was written at a time when opera was in transition, moving from the largely through-composed stile representativo of Monteverdi (presumably Cavalli’s teacher) to the contrast between recitative and aria that was soon to be Handel’s glory. The “star” singer was emerging, and both audience and artists were eager for change. One returns to the conclusion that works residing in oblivion are right where they belong.

Wes Blomster

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):