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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

David Daniels (Cesare), Danielle de Niese (Cleopatra), Maïte Beaumont (Sesto), Patricia Bardon (Cornelia), Christophe Dumaux (Tolomeo), Wayne Tigges (Achilla), Gerald Thompson (Nireno). Conducted by Emmanuelle Haïm. Production by David McVicar.
04 Dec 2007

Giulio Cesare in Chicago

Peter Schickele, channeling P.D.Q. Bach, was wont to say, “Most classical scholars were unaware Iphigenia was ever in Brooklyn … and I think the cantata, Iphigenia in Brooklyn, does for Iphigenia what the Vinland Map did for Leif Ericsson.”

G. F. Handel: Giulio Cesare in Egitto
Lyric Opera of Chicago. Performance of November 19, 2007

David Daniels (Cesare), Danielle de Niese (Cleopatra), Maïte Beaumont (Sesto), Patricia Bardon (Cornelia), Christophe Dumaux (Tolomeo), Wayne Tigges (Achilla), Gerald Thompson (Nireno). Conducted by Emmanuelle Haïm. Production by David McVicar.

Above: David Daniels in the title role and Danielle de Niese as Cleopatra star in the David McVicar-directed production of Julius Caesar, part of Lyric Opera of Chicago's 2007-08 season. Photo by Dan Rest/Lyric Opera of Chicago.

 

So also for those unaware that Caesar and Cleopatra ever visited Chicago: Under the auspices of Handel and the Lyric Opera, they came, they saw, and they kept local opera-goers happily glued to their seats for nearly five hours at a stretch.

A lot of the credit for this goes to David McVicar, who admits the first objective of the production he designed for the Glyndebourne Festival (and which, truth to tell, fits a bit awkwardly in a house twice the size of Glyndebourne and three times the size of any theater Handel ever wrote for) was to entertain. Basing his interpretation on parallels between Rome’s conquest of Egypt (and Cleopatra’s conquest of Caesar) and red-coated Britain’s occupation of Egypt around 1900 (and the Bollywood dance-ical sensibility in movies now made in the former British Raj), he has given us an all-singing and usually dancing spectacle that puts anything on Broadway to shame for special effects, never mind the contrast of Handel’s sublime melodies to anything pop. Too, the singers here, besides being as attractive, athletic and showy as anyone in Mumbai, fill the enormous venue without microphones.

A few spoilsports did grumble that the jokiness sometimes got in the way of their pleasure in Handel (though few of the jokes occur at serious, semi-tragic moments) and the more delicate ornamentation of the baroque line which is so necessary a part of Handel style often got lost in the expanses of Chicago, but still: five hours of baroquerie on a Monday night, and they stayed in droves!

Giulio Cesare is probably the most popular of Handel’s forty operas. There are two good reasons for this: the opera concerns the affair between two personalities whose reputations still linger in the popular consciousness (in contrast, how much do you really know — or are excited at the prospect of learning — about Deidamia, Amadis or Lotario?), and more important, the libretto is first rate, tracing the character development of its six principals, aria by aria, until they succeed or fail to grow into triumphant success: Cesare, the Roman conqueror, must discover that he has a heart; Cleopatra, the amoral pin-up, must fall truly in love and learn the courage and empathy that will suit a reigning monarch; Sesto, a child when we first meet him, must mature into a Roman warrior, capable of defending his mother and avenging his father; Cornelia must learn to survive her grief at her husband’s murder; and Tolomeo and Achilla, the conniving and dishonorable Greco-Egyptians, must learn sincerity, courage and honor — which they signally fail to do, meeting their proper rewards. It’s didactic and old-fashioned, but it is not (as so many baroque libretti are) haphazard: genuine tests are met or failed here, the characters move on or die, and the action is clear and constant. Revivals in days past (but not long past) often rearranged and interpolated music, making mincemeat of Handel’s clarity, but the days when audiences accepted this and shrugged off their confusion are happily behind us.

Those familiar with the DVD of the McVicar production will also be familiar with his Cleopatra, Cornelia and Tolomeo, Mmes. de Niese and Bardon and M. Dumaux. The interpretations of all three have deepened emotionally while the athletic feats of de Niese and Dumaux remain jaw-dropping and tireless. My problem with Ms. de Niese, so lovely, so charming, so healthy, so inexhaustible, so eager to conquer the world (isn’t that teenaged Cleopatra all over? was even Vivien Leigh in slinky silk — in the classic film of Shaw’s play — a sexier kitten in the role?) is that it is never clear to me that the deeper emotions, the discovery of her own heart in such arias as “Piangero la sorte mia” which are the heart of the opera, mean much of anything but breath control to this youthful singer. In Handel’s operas, fast arias like “Da tempesta” and Cesare’s “Quel torrente che cade” excite the newcomers, but the slow ones express the emotional truth of the work, and de Niese does not yet — or, perhaps, in a show as energetic as the McVicar staging, can’t — reveal them, or demonstrate that she appreciates them. There is time for her to deepen, however; for the present, she’s fun to hear and an awful lot of fun to look at.

Mr. Dumaux still does backflips and cartwheels as Tolomeo, as on the DVD, but his singing is becoming a thing to take pleasure in as well. It is appropriate that he is more the willful tyrant than the spoiled brat, since this production restores so much music that is usually cut — both Tolomeo’s lust for power, vengeance and Cornelia, and Cornelia’s and Sesto’s triumph at his destruction get more play than they usually do. This extends the evening considerably, but giving Cornelia her one joyous aria saves Bardon, as Cornelia, from a part only a Stephanie Blythe (or a Maureen Forrester) could save from tedium. Bardon’s pleasant voice lacks the personality of those ladies; she needs that dollop of energy at the end.

Maïte Beaumont, the Sesto, has a bright, clear alto, quite exciting in adolescent triumph but also touchingly vulnerable in the self-pitying introspection of “Care speme.” She also plays a young boy credibly; I’d love to hear her Cherubino or Oscar.

GC_LOC2.pngDavid Daniels, in the title role, watches as Wayne Tigges, as Achillas, presents the head of Pompey in Act I of Julius Caesar, part of Lyric Opera of Chicago's 2007-08 season. Photo by Dan Rest/Lyric Opera of Chicago.

David Daniels, probably the world’s foremost Cesare, undertakes the title role (as he has nearly everywhere else in the last ten years). This is a role — Julius Caesar, for gosh sakes! Soldier! Lover! Statesman! Bestselling author! whose name became a synonym for monarch! — that, for me, cannot be credibly impersonated by a woman, though I never saw Baker or Troyanos undertake it. Daniels definitely plays a most masculine Cesare, all right, but his luscious voice is slow to warm up. Perhaps the vast spaces of this opera house are unkind to his voice (which is not vast), his lapidary phrasing, his sensitivity to the meaning of the words he sings, but even in smaller houses I have not been impressed by his singing of the first act of Cesare. The arias might be tossed off by any competent countertenor — even the divine “Va tacito e nascosto” (staged by McVicar as a warriors’ pavane, with rival armies stomping in time to its studly, ominous march-time) does not bring out the special throb of Daniels at his best.

By Act II, amorous arias and catastrophic turns of the plot seem to warm him to the task. He takes off during the battle royal with violin that is “Se infiorito” — but then, another feature of this singer is the delight he takes in having a partner-adversary to strike sparks: grand duets and obbligatos always give us Daniels at his best, and he always shows his partner to advantage too — he is a colleague as well as a sportsman, and here he also a lover — his scenes with de Niese get quite steamy.

Emmanuelle Haïm earned full marks for leading a much-cut-down Lyric Opera orchestra to a baroque sound quality startling in its precision the day before performing Strauss’s Die Frau ohne Schatten — but no doubt the Lyric Opera, like most opera house orchestras the world over — are getting used to the requirements of the baroque revival. So is the Chicago audience, which saw few empty spaces as the hours went blissfully by.

John Yohalem

Click here for audio and video courtesy of Lyric Opera of Chicago.

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):