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

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

Siegfried, Opera North

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.

Götterdämmerung, Opera North

The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.

Le nozze di Figaro, Glyndebourne

Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.

Cosi fan tutte at the Aix Festival

Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

OPERA TODAY ARCHIVES »

Performances

Anna Bolena (ETO)
06 Apr 2008

ANNA BOLENA – English Touring Opera

In a climate in which bel canto opera seems to be enjoying a steady and welcome revival, ETO opened their current season with a welcome production of Donizetti's historically dubious account of the latter days of Anne Boleyn. The company's...

Gaetano Donizetti: Anna Bolena
English Touring Opera, 13 March 2008

Above: Julia Riley
All photos by Robert Workman courtesy of the English Touring Opera

 

In a climate in which bel canto opera seems to be enjoying a steady and welcome revival, ETO opened their current season with a welcome production of Donizetti's historically dubious account of the latter days of Anne Boleyn. The company's fine Maria Stuarda three years ago is still fresh in the memory, and one wonders whether the company might be brave enough to complete the 'set' with a staging of Roberto Devereux before too long.

The basic framework of Soutra Gilmour's versatile set serves all three productions on the current tour, and for this opera the set's skeleton had tapestry panels mounted upon it which slid in and out of place to create different spaces and enable characters to conceal themselves from one another.

In the title role, Julie Unwin grew in confidence and vocal security as the evening progressed – at the start her tone, dynamics and vibrato overpowered the musical line a little, but by the middle of the first act she had settled into it and she gave a particularly convincing performance in the lyrical moments of the later scenes.

She was, however, overshadowed by outstanding performances from two colleagues: Julia Riley's Jane Seymour was rich-voiced, elegant, poised, passionate and credible – and although Luciano Botelho's dryish tenor is not quite beautiful, he made almost effortless work of Lord Percy's stratospherically high-lying passages. I suspect that this is one of those roles which, when sung even half-decently, is guaranteed to bring the house down – however Botelho really did deliver it with style and panache.

In fact, while most ETO offerings boast one or two particularly strong performances, I forget the last time they fielded such a strong all-round cast. Former ENO principal Riccardo Simonetti was a commanding Henry VIII, while Jonathan Pugsley's Lord Rochford and Serena Kay's Smeaton were also luxuriously sung.

Performing in an orchestration which suits the forces available (and with several cuts to the score) the company has put together a fine orchestra this time around, too, with some particularly good woodwind – Michael Lloyd conducted.

bolena_124.pngJulie Unwin

ETO's decision to perform in the original Italian – a rare exception to their usual English-language policy – was perhaps a wise one, as this repertoire benefits from the Italian vowel sounds combined with the bel canto melodic lines. However the scrolling surtitles were laughable, full of misspellings and oblivious to what might unintentionally cause amusement. But overall this is a creditable account of an opera which has been unjustly neglected in the country from which it takes its inspiration.

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):