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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

OPERA TODAY ARCHIVES »

Performances

Count Almaviva (John Osborn, l.) serenades Rosina (Joyce DiDonato) as Figaro (Nathan Gunn, r.) plays the guitar in The Barber of Seville, part of Lyric Opera of Chicago’s 2007-08 season. Photo by Robert Kusel/Lyric Opera of Chicago.
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.

Gioachino Rossini: The Barber of Seville

Lyric Opera of Chicago, Civic Opera House
February 22, 2008

Above: Count Almaviva (John Osborn, l.) serenades Rosina (Joyce DiDonato) as Figaro (Nathan Gunn, r.) plays the guitar.
All photos by Robert Kusel/Lyric Opera of Chicago.

 

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.

Barber_Chicago_09.pngJoyce 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

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):