02 Mar 2008
Short on the sides and Full On Top
Perhaps the most beloved comic opera, Rossini’s Il barbière di Siviglia has never left the repertoire.
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Perhaps the most beloved comic opera, Rossini’s Il barbière di Siviglia has never left the repertoire.
With its struggle between love and greed, youth and age, its general joie de vivre, along with gem after gem of “hummable” musical numbers, it is an audience favorite. Myriad opportunities for sheer technical dazzle give connoisseurs an opportunity to savor the more refined vocal moments of the evening. Lyric Opera’s current run of Barbiere, seemingly like Opera itself at the turn of the Millennium strives to please all of the people all of the time, succeeding both as high art and as showpiece. The opera’s elements seem traditional enough, and yet, even a perfunctory glance beneath the surface yields deeper levels of meaning. John Conklin’s sets, which were inspired by the work of Magritte are representational, with surrealist elements. Likewise, Michael Stennets’ costumes were both traditional and whimsical.
A Barbiere resounds or thuds because of style, comic insight, and vocal ingenuity. Lyric’s Barbiere managed to sparkle mostly because of the immense talent of Joyce DiDonato, who, in her house debut as Rosina, was both vocally and dramatically a perfect fit for the role. It must be said that DiDonato is a revelation. Her cavatina, “Una voce poco fa” was a lesson in bel canto tradition. DiDonato’s ornaments were rapid-fire and athletic, inspired, appropriate. The voice was exciting in the top with warmth to spare in the lower and middle registers. It must also be said that DiDonato is an engaging actress; her Rosina was sympathetic and charming. During “Una voce poco fa”, when the text returns, “Io son docile”, in an inspired moment, DiDonato threw a mini-tantrum, juxtaposing Rosina’s outward subservience with her inward rebellion. “Contra un cor”, Rosina’s second act aria, was staged as a “voice lesson” and DiDonato was uproariously funny in her impersonation of an amateur singer, placing her hands on various parts of the body to simulate physicalized learning. When DiDonato’s Rosina looks to Bartolo for approval, Bartolo furthers the joke by making hand gestures that suggested voice placement and grace. DiDonato’s triumph was complete when, immediately before the cadenza, she mimed exaggeratedly deep breathing.
Opposite DiDonato is John Osborn, who replaced Juan Diego Florez, the scheduled Almaviva, at the 11th hour. Florez’s return had been much anticipated by Chicago operagoers, and so Osborn’s bravery in assuming the star mantle should be commended. Osborn does not suffer greatly by comparison to the singer he replaces. His leggero voice coasts easily through the score, which is notoriously difficult for singers who are less equipped for this specialty role. In fact, the finale “Cessa di più resitere” is often cut because of its fiendish difficulty. The tenor wins the audience with his agility and stratosphereic finale. If criticism must be given, it is that Osborn’s voice takes a moment to warm up; his “Ecco ridente in cielo” is perhaps a little heavier than the rest of his singing in the evening, but he sails through the cabaletta with only a little effort and by the second scene, sighs through the recit with a lyricism not often heard from singers in major houses.
Sung by American pin-up baritone Nathan Gunn, the production’s Figaro is a treat, not only for the sporty physique, which the actor proudly displays during his “Largo al factotum” (staged as a dressing scene), but also for his generous singing. Contrary to some critical opinion, this listener finds Gunn’s voice to be adequate of weight for such a large venue as the Civic Opera House. Gunn had no trouble projecting over full orchestra for his arias and duets, but, surprisingly, he drops several syllables of his recitatives, with only a harpsichord to balance. A little more careful detail to vocal energy may be in order, but the singer’s execution is enjoyable, and Gunn’s relaxed air on stage is very welcome.
Joyce DiDonato as Rosina and John Osborn as Count Almaviva
Baritone Philip Krauss gives a serviceable Doctor Bartolo. His reading paled in comparison to the lovers; however, his diction is crisp, and his aria “La calunnia è un venticello” was richer for it. Also of note is his lovely falsetto that we enjoyed in the opening bars of “Quando mi sei vicina”. In spite of his best efforts, Maestro Donato Renzetti fails in his attempt to encourage the orchestra to play so loud as to cover the singers during the quintet, and the overture, surprisingly slow, was out of tune.
Still, this Barbière is a must see for anyone who loves this comic work, and anyone who treasures the bel canto tradition is foolish to ignore the opportunity to hear Ms. DiDonato teach us how Rossini must be sung.
Gregory Peebles © 2008