Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

Billy Budd in San Francisco

San Francisco Opera’s Billy Budd confirms once again that Britten’s reworking of Melville’s novella is among the great masterpieces of the repertory. It boasted an exemplary cast in an exemplary production, and enlightened conducting.

OPERA TODAY ARCHIVES »

Performances

Anna Christy in Lucia di Lammermoor (ENO)
20 Feb 2008

Anna Christy Triumphs in Lucia di Lammermoor at ENO

ENO doesn’t really go in for bel canto opera. Other than a Maria Stuarda back in the mid 1990s, the only Donizetti opera in the company’s repertoire in the recent past has been the popular L’elisir d’amore.

Gaetano Donizetti: Lucia di Lammermoor
English National Opera, 19 February 2008

Above: Anna Christy

 

Dramatically, Lucia di Lammermoor is perhaps the composer’s finest work, and one of the most obvious precursors to Verdi, but it’s also one of the most problematic to cast, not least because of its daunting historical association with some of the greatest sopranos and tenors of the twentieth century.

If any opera company can be relied upon to make a credible ensemble piece of an opera that’s known for being a star vehicle, it’s ENO, and this first new production of 2008 is a triumph. It may not be orchestrally thrilling — Paul Daniel’s conducting doesn’t really allow any rhythmic variation or space, at least for the first two acts — but the staging is dramatic, emotionally involving and coherent, and the principal casting is almost faultless. All did not go entirely to plan on opening night; singing the chaplain Raimondo, Clive Bayley succumbed to a chest infection part-way through the first act and he continued to mime the role to the voice of his cover, Paul Whelan, who is due to sing two scheduled performances of his own at the end of the run, but who on this occasion sang from one side of the proscenium.

In David Alden’s bleakly monochromatic production, with sets by Charles Edwards and costumes by Brigitte Reiffenstuel, emotion takes second place to practical and political considerations. A fixation with the past — particularly childhood, and images of dead ancestors — prevents anybody from influencing their own future or bringing anything interesting or new into their lives. It has turned Enrico into a bitter, almost emotionless shell, with a perverse obsession with his naïve young sister, whom he keeps trapped in childhood before brutally ’breaking her in’ and throwing her into her unwanted marriage to Dwayne Jones’s soulless pretty-boy Arturo. Mark Stone’s sense of bel canto legato leaves something to be desired, but the darkness in his voice makes his Enrico deeply nasty.

Edgardo is really no better. While Enrico’s reaction to his surroundings and the events of his past have turned him introverted and cruel, Edgardo has become careless, rash and impetuous, which ultimately makes him almost as responsible for Lucia’s fate as her brother. Barry Banks’s vocal and dramatic power belie his small stature; his presence is easily a match for Stone’s, and his final aria sequence is thrillingly, beautifully sung.

ENO_Lucia_Mad_Scene.jpgThe Mad Scene (Anna Christy in foreground)

In the tile role, Anna Christy’s remarkable physical portrayal and crystalline soprano — not audibly marred by the bronchitis which had prevented her from completing the dress rehearsal — make her utterly convincing as this troubled, abused young girl. There is something other-worldly about her voice, and its partnership with the glass harmonica (restored to the Mad Scene as Donizetti intended) creates a chilling resonance. Although the libretto refers to her passionate nature, passion is lacking; she is more of a dreamer. We first see her perched at one side of a miniature stage, gazing obliquely at the closed curtain; she is discovered there again following Raimondo’s revelation that she has murdered Arturo, and during the mad scene, after the curtain is pulled back to reveal her husband’s bloodied body, she gradually retreats into the “stage” area as if it is the realisation of a long-held dream.

Tellingly, the blood which drenches Lucia’s and Arturo’s wedding-night garb is almost the first colour that’s been onstage all evening; it serves as both a coup de theatre and a symbol of Lucia’s release through madness from the bonds of her dead, grey, repressed surroundings.

Ruth Elleson © 2008

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):