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

Apollo e Dafne
28 Oct 2007

“Apollo e Dafne” — the English Concert at St. Georges, Bristol.

Someone once called Handel’s Italian cantata Apollo e Dafne a “proto-opera” and it’s easy to see why.

G. F. Handel: Apollo e Dafne

The English Concert at St. Georges, Bristol.

 

He wrote it at roughly the same time as his first full-blown opera seria were starting to roll off that amazingly fruitful production line which was to dominate the English opera scene for decades, and it has music and drama of the same high quality, even if the quantity is more limited.

It is a delightful, if sobering, tale of out-of-control sexual desire which leads to loss and regret; an everyday tale of country folk set in the misty mythological past where nymphs, shepherds and passing gods wreak havoc in the Arcadian calm. The amorous god Apollo spots a nubile young wood nymph called Dafne. He becomes entranced and then besotted with her and in the end his unwanted advances force her to reject him in the only way left open to her: she turns herself into a sweet-smelling laurel bush, (forever after known to gardeners as “Daphne”) and Apollo is left to rue his heavy-handed technique, singing a heartbroken tribute to his lost love.

Although this cantata can be viewed as a simple morality tale — and most probably was in 1710 — Handel has lavished the full panoply of his skills upon it, though in miniature form compared to his greater vocal works. He actually started writing it, we think, whilst still in Venice where he was both working and networking among the nobility of that great musical centre of the time. The manuscript had to travel with him when he left for a brief sojourn in Hanover which was where it was completed. This break in the compositional timeframe is not noticeable — the arias and recitatives flow smoothly one to the other with all of the young German’s trademark felicity.

A recent national tour by the renowned baroque ensemble The English Concert has put the spotlight back on to Apollo e Dafne and a recent Friday evening saw them performing it as the semi-staged centre piece of an all-Handel programme for an appreciative audience at St. George’s, Brandon Hill, Bristol. This elegant and acoustically-blessed baroque ex-church was the perfect setting for the English Concert’s stylish and alert playing, where both spirit and refinement were found in equal measure. It was particularly interesting to see the band directed not from the violin, but from the fine baroque oboe of Alfredo Bernardini, who has both worked with some of the best period ensembles in the world, and he brought a touch of Italian musical fire to proceedings as he stood and played his instrument with astounding virtuosity in both the two concerti grossi (No 2 in B flat, and No 3 in G) and a shorter cantata for solo soprano “Ah crudel nel pianto mio”.

This lament was plangently sung by visiting Spanish soprano Nuria Rial, who has an ideal voice for this kind of work — clear, limpid and quite white in tone — and she gave a polished if perhaps musically unadventurous reading of it. What was needed was an injection of Italian brio — and we got it with the entrance of Fulvio Bettini as the importuning god Apollo in the main vocal work of the evening. Bettini is an experienced singer of not only Handel’s meaty baritone roles, but also of the earlier Italian masters such as Monteverdi, and his stage credits go from that period right through to Ravel, Weill and Glass. This kind of theatrical experience showed in his robust performance — his characterisation had a 360 degree aspect and his rich middle and lower range was used to the full, expressing not only the god’s passion, but also his frustration and almost comic exasperation with his unwilling beloved. His final aria, when he mourns his vanished love, “Cara pianta, co'miei pianti” revealed a matching ability with legato line. Nuria Rial was a most believable young wood nymph and her desperation and unease was effectively captured by some stylish and elegant singing with neat ornamentation, most noticeably in the lovely aria “Felicissima quest’alma” where her tone was entrancing. The two singers combined gracefully in the final duetto “Deh, lascia addolcire”.

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):