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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

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):