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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

OPERA TODAY ARCHIVES »

Performances

La Cenerentola by Josep Guinovart
30 Dec 2007

Cinderella and her Cinderfella

Once upon a time, we used to only dream about a stellar pairing like Barcelona’s Gran Teatre del Liceu has fielded for their current offering on display: “La Cenerentola.”

Gioachino Rossini: La Cenerentola

Gran Teatre del Liceu, Barcelona

Above illustration by Josep Guinovart

 

I mean, a diva and a divo that could both easily, nay joyfully negotiate the considerable and varied vocal demands of the title role and the Prince? And handle spot-on comic acting as effortlessly as they embodied well-judged sentimental moments that truly touched the heart? And on top of it all, both be possessed of exceptional, unassuming youthful good looks and that truly elusive “star quality”?

Well, ’tis the season, and dreams do come true. Those who whine and pine for some elusive “Golden Age” or another should shut up and hurry to Catalonia to catch Joyce DiDonato and Juan Diego Florez in what may just be definitive performances in Rossini’s enchanting rags-to-riches-rendition.

The beautiful, blond, Ms. DiDonato quite simply has it all. She can dispatch roulades with aplomb; color and vary seamless melismas to convey any variety of emotions; float high, middle, or low notes (and everything in between); spout out fiery dramatic phrases; or pull back to pianissimi of crushing frailty. It seems nothing in the role eludes her. She is a major artist with a beautifully schooled, richly handsome instrument, at the top of her game. Above all, she invites us into her world with a winning presence and an infectious delight, sharing her prodigious gifts in the service of one of Rossini’s most enchanting characters.

That she brought us to our knees and then to our feet with a perfectly judged “Non piu mesta” almost goes without saying. It was one of those thrilling performances when my heart began racing as fast as the coloratura, and the entire audience scarcely dared breathe. Applause and a low roar began as soon as she released the climactic note, and it built and built until the play-off finished and we seemed helpless in wanting to out-do each other in shouting our approval.

This is the kind of moment we dream of encountering in our years of routine, nicely competent opera-going, isn’t it? A spontaneous communal moment mercifully unspoiled by the likes of the Met Shush-ers (aka “The Applause Police”), where sudden perfection and the outpouring of recognition collide to make for an electric, one-of-a-kind shared experience. But far before this famous set piece, our star impressed from her very first, firmly-voiced “Una volta cera un’ re,” and then she just went from strength to strength. I felt much like Renee Zellweger in “Jerry Maguire” when she said “You had me from ‘hello’.”

Matching her note for note, and dripping charisma (he could bottle and sell it), Mr. Florez currently has no equal in this repertoire. Having heard him now on seven occasions, this cool bel canto dude just never mis-fires. Everything in his beautiful, bright lyric voice is perfectly aligned and evenly produced; he wisely judges just how far to push it in volume; his remarkable agility knows no apparent bounds; he can spin a hushed or full-throated legato phrase that the great Kraus would envy; and he can leap octaves and tenths (maybe fourteenths) in a single bound to perfectly centered high notes.

His Latin temperament and impossibly boyish dark good looks are certainly icing on the cake to ladies of both sexes (the five Milanese gentlemen with whom I shared my box were certainly enamored, prompting much passing of binoculars). Perhaps his most special skill as a complete performer is that he knows how to effortlessly play comedy — without mugging, without shtick, without gilding the lily — he just “gets it.” So here is a Prince Charming that is fun, passionate, a looker, and…he sings, too. No wonder he gets the girl!

In my previous encounters with “Cenerentola” I have certainly always enjoyed the tenors I heard, nice voices, nice enough acting. But I never quite realized what a great part Don Ramiro could be until I first caught Mr. Florez in it in London (well-partnered with Kasarova). It is cause for rejoicing that he is just a plain ol’ star singer who can make any of his assumptions a star part.

Not to say that these two were alone in their glory, for the Liceu assembled a most winning cast. At first I thought that Bruno de Simone (Don Magnifico) and David Menendez (Dandini) might should switch roles. The former was more suave of voice and presentation than I had imagined for Magnifico, and the latter a little more blustery and over-the-top than any of my previous Dandini’s. But once I set aside my pre-conceptions, both won me over with their well-realized (and well-traveled) interpretations. Although the frequent rapid-fire patter from both was well-executed, what impressed even more was the underlying beauty of tone both brought to the occasion, de Simone more lyrical, Menendez more burnished.

Simon Orfila’s warm, mature, and artfully deployed bass-baritone contributed another big plus with a lovingly conceived Alidoro. In the rather one-note dramatic roles of the step sisters, Cristina Obregon (Clorinda) and especially Itxaro Mentxaka (Tisbe) always acquitted themselves well, sparkling vocally in their spunky chatter-patter, and adding substantially to the many ensembles.

Joan Font directed a highly inventive production that has also been shared between Houston Grand Opera, Welsh National Opera -Cardiff, and Geneva’s Grand Theatre. Mr. Font and his designer Joan Guillen have come up with a cornucopia of clever touches, a riot of well-coordinated colors, and a unifying concept that deploys a “chorus” of eight dancers costumed as rats (with long pointy noses) who prettily pose, comment with movement, change scenery, and offer props along with tea and sympathy.

Amid all the bustle, and funning around, and subsequent glamor, these judiciously used rodent groupings kept us well grounded in Cinderella’s humble milieu. Indeed, she began “Nacqui all’affanno e al pianto” kneeling among the rats and charmingly tousling their heads as a sort of ‘thanks’ for having been such willing accomplices.

While all the tongue-in-cheek costumes and wigs were revelatory and aptly matched to the characters, I found our heroine’s white ball gown to be a bit of a disappointment. In this signature moment of her arrival at the ball, the skirt looked too short, like a high water model, and the veil that was removed revealed a huge white powdered wig that, from my seat at least, looked for all the world like a white Afro so big it could eclipse Angela Davis. Mr. Florez’ white wig, while accurate, might also have been traded in for a brunette model to better complement his coloring.

I initially wondered why Cinderella came out for the final scene in her black, gray and white(designer) rags and a tiara, but it became clear that Mr. Font had one more trick up his sleeve. During her final aria, she distanced herself more and more from the Prince, ending alone in a spotlight, and was once again rat-handed her broom. Was it all a dream? A unique touch to end a uniquely delightful production.

Albert Faura’s excellent lighting merits mention since it was such a willing accomplice in the afternoon’s effects. The back lighting of the basic scenic structure instantly transformed it from rat-infested home to palace (in this case, also rat-infested). The interior lighting of the fireplace created a wonderful effect as the mantle lifted and it grew to create/reveal the imposing palace doors. And in a novel touch, the storm scene was accompanied by the rats operating a shadow curtain showing a silhouette of the prince in his mini-coach riding through the blustery night en route to find the girl of his dreams.

Last but not least, Patrick Summers conducted with stylistic flair, and ably accompanied the recitatives from the keyboard. Inexplicably, he got a few undeserved hoots at curtain call. All I can figure is he was apparently being taken to task for a total of about six bars in Act I when our otherwise fine Dandini slightly misjudged an entrance, and later had a very minor moment of rhythmic uncertainty. When things are moving at such a breakneck clip, the slightest moment of inattention can cause a hiccup. But I found the maestro always to be large-and-in-charge, and he led an effervescent reading that was not only well-paced, but all the while pleasingly sensitive to the balancing introspective utterances.

Seen on 23 December, this struck me as a perfect gift for the holiday season, which I recommend to companies and opera lovers everywhere as a fine alternative to the usual parade of “Hansel and Gretel,” “The Magic Flute,” and “The Nutcracker.”

At least on this occasion, in light of this dreamy Rossini, it seemed a new “Golden Age” might be possible after all. And after all, it is the season of dreams, isn’t it?

James Sohre

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):