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

Jonathan Miller’s “Così” strikes gold again

When did “concept” become a dirty word? In the world of opera, the rot set in innocently, gradually.

Tucson Desert Song Festival Presents Artists from the Met and Arizona Opera

The Tucson Desert Song Festival consists of three weekends of vocal music in orchestral, chamber, choral, and solo formats along with related lectures and master classes.

Bartók’s Duke Bluebeard’s Castle at the Barbican

Two great operas come from the year 1911 - Richard Strauss’ Der Rosenkavalier and Bela Bartók’s Duke Bluebeard’s Castle. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories.

Puccini’s Tosca at the Royal Opera House

Now on its ninth revival, Jonathan Kent’s classic Tosca for Covent Garden is a study in art, beauty and passion but also darkness, power and empire. Part of the production’s lasting greatness, and contemporary value, is that it looks inwards towards the malignancy of a great empire (in this case a Napoleonic one), whilst looking outward towards a city-nation in terminal decline (Rome).

ROH Return to the Roundhouse

Opera transcends time and place. An anonymous letter, printed with the libretto of Monteverdi’s Le nozze d’Enea con Lavinia and written two years before his death, assures the reader that Monteverdi’s music will continue to affect and entrance future generations:

London Schools Symphony Orchestra celebrates Bernstein and Holst anniversaries

One recent survey suggested that in 1981, the average age of a classical concertgoer was 36, whereas now it is 60-plus. So, how pleasing it was to see the Barbican Centre foyers, cafes and the Hall itself crowded with young people, as members of the London Schools Symphony Orchestra prepared to perform with soprano Louise Alder and conductor Sir Richard Armstrong, in a well-balanced programme that culminated with an ‘anniversary’ performance of Holst’s The Planets.

Salome at the Royal Opera House

In De Profundis, his long epistle to ‘Dear Bosie’, Oscar Wilde speaks literally ‘from the depths’, incarcerated in his prison cell in Reading Gaol. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty.

In the Beginning ... Time Unwrapped at Kings Place

Epic, innovative and bold, Haydn’s The Creation epitomises the grandeur and spirit of the eighteenth-century Enlightenment.

The Pearl Fishers at Lyric Opera of Chicago

For its recent production of Georges Bizet’s Les pêcheurs de perles Lyric Opera of Chicago assembled an ideal cast of performers who blend well into an imaginative and colorful production.

New Cinderella SRO in San Jose

Alma Deutscher’s Cinderella is most remarkable for one reason and one reason alone: It was composed by a 12-year old girl.

La Cenerentola in Lyon

Like Stendhal when he first saw Rossini’s Cenerentola in Trieste in 1823, I was left stone cold by Rossini’s Cendrillon last night in Lyon. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.

Messiah, who?: The Academy of Ancient Music bring old and new voices together

Christmas isn’t Christmas without a Messiah. And, at the Barbican Hall, the Academy of Ancient Music reminded us why … while never letting us settle into complacency.

The Golden Cockerel Bedazzles in Amsterdam

Nikolai Rimsky-Korsakov’s fairy tale The Golden Cockerel was this holiday season’s ZaterdagMatinee operatic treat at the Concertgebouw. There was real magic to this concert performance, chiefly thanks to Vasily Petrenko’s dazzling conducting and the enchanting soprano Venera Gimadieva.

Mahler Das Lied von der Erde, London - Rattle, O'Neill, Gerhaher

By pairing Mahler Das Lied von der Erde (Simon O'Neill, Christian Gerhaher) with Strauss Metamorphosen, Simon Rattle and the London Symphony Orchestra were making a truly powerful statement. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message.

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

OPERA TODAY ARCHIVES »

Performances

Giuseppe Verdi
16 Dec 2007

OONY Performs Verdi's I Due Foscari

After the triumph of his fifth opera, Ernani, Verdi could have gone on writing howling melodramas and made a mint.

Giuseppe Verdi: I Due Foscari

Opera Orchestra of New York, Carnegie Hall, 13 December 2007

Francesco Foscari: Paolo Gavanelli
Jacopo Foscari: Aquiles Machado
Lucrezia Contarini: Julianna Di Giacomo
Conducted by Eve Queler

 

But his sixth, I Due Foscari, indicates a new direction: inwards. Taken from a verse drama by Lord Byron, it’s a piece with little action in it. The three principals are not in opposition to each other – their antagonist is the ruthless machinery of the Venetian state; the opera concerns what goes on in their hearts, torn between love (of family, of country) and duty (to country, to unjust laws). Verdi did not yet have the musical chops to develop such internal conflicts, to create new layers for Italian opera – but that’s where he wanted to go, and in time, opera followed. Foscari, however, despite its wealth of melody, got kind of passed by. None of the tunes are well known and the leading roles are perilous – you need three big voices to pull the thing off.

In the history of Venice, a compleat oligarchy, the truly heroic figure is Venice. But human beings are drawn to individuals, and when stories come down to us from Venetian history, it is not state organs that elicit our sympathy. We sympathize with the oppressed, and with the conspirators who tried to disrupt the Venetian constitution – but Venice would not have become Venice if they had succeeded. Francesco Foscari, the longest-serving Doge of Venice (an almost powerless elected figurehead), after twice being refused permission to retire, was forced out of office against his will. He had also been forced to stand by when his son was wrongly accused of murder, tortured and exiled for it. That’s the story here: young Foscari complains (at the top of his tenor lungs), his wife resents (even louder), the old man bewails and, at last, drops dead.

Eve Queler chose Foscari (which she has presented a time or two before) for Opera Orchestra of New York’s one hundredth concert, and it was a joyful occasion on all counts. Venezuelan tenor Aquiles Machado, the accused Jacopo Foscari, is a Venezuelan tenor who has honorably sung such roles as Enzo at the Met. A little man with a big, brash voice of gleaming metal, he filled the room and made everyone smile, but there was little shading or subtlety. Jacopo should move us with his heartbreak not just his ardor.

He was very well matched by Julianna Di Giacomo as his wife, Lucrezia Contarini, one of Verdi’s hectic heroines, a dramatic coloratura like Abigaille in Nabucco or Odabella in Attila. (The Met’s producing Attila for the first time in a year or two, and they should keep her in mind.) Her voice, too, is huge and gleaming, and she has the coloratura, though the instrument is not ideally supported at the top. She had no troubles with strenuous Lucrezia, but she sang at only two levels, loud and louder, and there was little sign that she had other colors to her palette. Unless she learns how to characterize and how to manage soft singing, her future as a Norma, Anna Bolena or Verdi’s Hélène, the roles she seems to crave, is uncertain. Both these singers earned, and received, great enthusiasm.

The ovation of the evening, the performance that made people sigh as well as scream, was for Paolo Gavanelli’s Doge Francesco Foscari. His voice too is large, a rich, bluff smoky baritone with heart to it, and a sense of poetic phrasing. There were depths of feeling, of internal discussion, when he sang of his heartbreak, and we seemed to be an audience for that genuine discourse. It was easy to imagine him as Verdi’s other tormented baritone fathers, Rigoletto or Amonasro or Germont (which he has sung at the Met in years past), and everyone present would be eager to hear him in such roles.

As so often in Verdi, the baritone is the heart of this opera, and Queler chose the right man to make a case for the work. She did as well with the work’s thrilling, attention-grabbing prelude and several background choruses, though some of the orchestral work sounded a little scrappy. In any case, as at all the better Queler evenings, we came away with a better notion of the roots of the operatic canon, besides having made the acquaintance of several little-known singers we look forward to encountering again.

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):