Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

OPERA TODAY ARCHIVES »

Performances

L’Oracolo (Franco Leoni) and L’Incantesimo (Italo Montemezzi) at Teatro Grattacielo
19 Nov 2007

Verismo Rarities, Teatro Grattacielo

Part of the fun of visiting the many companies that specialize in unearthing forgotten operas lies precisely in not knowing what you’re going to get.

L’Oracolo (Franco Leoni)
With Todd Thomas, Ashraf Sewailam, Arnold Rawls, Daniel Ihn-Kyu Lee, Asako Tamura and Mabel Ledo.

L’Incantesimo (Italo Montemezzi)
With Todd Thomas, Ashraf Sewailam, Asako Tamura and Ashraf Sewailam.

Teatro Grattacielo, conducted by David Wroe. Avery Fisher Hall, November 13.

 

It could be a justly ignored trifle or a work underappreciated in bygone days, or a work overappreciated that gives you a clue to what the tastes of that era were. Audiences liked this? What did they like about it? And sometimes, when you least expect it, it’s a pleasure from start to finish.

Take Leoni’s L’Oracolo, now — Antonio Scotti recorded a bit of it (he played wicked Cim-Fen, proprietor of an opium den in San Francisco’s Chinatown), and there has even been a complete recording with Tito Gobbi and Joan Sutherland. The opera was rather popular at the Met in its day, during and after World War I — but how many of us have actually experienced a live performance? And as for Montemezzi’s swan song, L’Incantesimo — how many have even heard of it? Composed for radio during the Mussolini administration, it did get a staging at the Verona Arena nearly sixty years ago.

But you never know if you don’t go hear them, and sometimes that hearing provides astonishment, surprise in the amount of pleasure available. One of the most enjoyable operas I’ve heard this season was Dame Ethel Smyth’s The Wreckers, performed by the American Symphony Orchestra last September at Fisher Hall. How much more awake we all were, alert to the unknown, the forgotten, the ignored, when Smyth’s expert orchestration came flooding out at us like some Cornish valkyrie?

You have to try it, or you will regret the chance lost. That, I am happy to report, was the conclusion of a happily dazed band of opera lovers at Fisher Hall again last Tuesday, when Teatro Grattacielo, an organization that presents one concert a year of a forgotten (often unknown) work of the verismo era. It was their thirteenth season and the prima donna withdrew with a sore throat, and the other singers were far from well known, and the double bill of one-acts particularly obscure — but no matter. However much we may have shrugged going in — there was a lot of “Here we go for another one” among a fatalistic crowd — all eyes sparkled and a happy babble of comment filled the air at intermission: If L’Oracolo is not a masterpiece of the first water (did verismo produce masterpieces of the first water? Isn’t that besides the realistic point of the form?), the opera is a thing of beauty, melodious and passionate and odd, filled with blood and lovely tunes and horrible destinies. Any decent orchestra will have fun playing it (there were times with this one when one wasn’t sure if the teeth-grating harmony was intentionally “oriental”or off key), and the singers all have parts that make it clear just how hard they are working. Best of all, Teatro Grattacielo had filled the cast with excellent voices, healthy, loud, urgent, and thoroughly schooled in the Italian manner.

Todd Thomas, a baritone of imposing malice — a man born to sing Scarpia, which he does — sang the monstrous Cim-Fen. Ashraf Sewailam, a young Egyptian bass of distinction, sang his nemesis, Win-Shee. Asako Tamura made a striking impression as Ah-Joe, one of opera’s many delicate oriental maidens with a larynx of steel (Teatro Gratticielo has already presented Mascagni’s Iris), and Arnold Rawls sounded attractive and ardent in the short but high-lying role of her unfortunate true love, San-Lui. Daniel Ihn-Kyu Lee, as the wealthy businessman at the center of the plot, and Mabel Ledo in the brief role of a careless nursemaid, made one wish to hear more from them.

L’Incantesimo was another matter. Almost the end of the line for verismo and, indeed, for Italian melodic opera, it is Montemezzi’s tribute to the fairy tale works of Richard Strauss and his ilk, with a full, Germanic orchestra swirling us through a slight drama of lover (tenor) versus husband unable to love (baritone), contesting for the devotion of a wife more symbol than woman, all of them under the contrivances of the enchanter of the title. (This is the rare verismo fable with a happy ending.) José Luis Duval sang the desperately high-lying role of the lover as well as one could expect — he will find the awkward Strauss tenor repertory congenial, or at least possible — and Mr. Thomas scored again as a bravura heavy: hard, haughty, loveless Count Folco. Ms. Tamura gamely followed up her Ah-Joe by replacing an ailing colleague as Giselda, who doesn’t have to do much, but must do it at the top of her range, with the entire orchestra competing fortissimo. She, like Mr. Thomas, sounded at the evening’s end as if they gobble this stuff for aperitifs and could happily sing more — which cannot physically be true. Mr. Sewailam, in the brief but significant role of the sorcerer, was again highly effective.

For mastery of the forces he deployed, Montemezzi certainly deserves high marks for L’Incantesimo — though his finale is cruelty to singers. But for substance, for personality, for offering a story that took us to new or intriguing places, the opera seemed thin: a lot of bark, little bite. This was not the general reaction to L’Oracolo, which a performance like this one makes us think worthy of another look, even a staging (despite its hokey contrivances: opium addicts, kidnappings, mad scenes, murders, sewers — it’s all Chinatown, Jake), perhaps on a double bill with Puccini’s veristic Tabarro, another slice-of-brutal-life show. L’Oracolo was a reminder that the era did not only produce Cav and Pag.

The Teatro Grattacielo Orchestra was led, and the singers inspired, and the entire performance a triumph for David Wroe, a conductor new to me. The only down sides of the entire event were the unfortunate inclination of the company to use over-miked electronic sound effects — in this case a foghorn and a rooster — at moments when subtlety would have made the point better.

John Yohalem

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):