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

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

OPERA TODAY ARCHIVES »

Performances

Giacomo Puccini
21 Apr 2008

OONY Performs Puccini's Edgar

It was one of Queler’s good nights.

Giacomo Puccini: Edgar

Edgar: Marcello Giordani; Fidelia: Latonia Moore; Tigrana: Jennifer Larmore; Frank: Stephen Gaertner; conducted by Eve Queler. Opera Orchestra of New York
Performance of 13 April 2008

 

You know the bad ones, the reputedly great unknown score that, like a defective Frankenstein’s monster, refuses to come to life under her listless thunderbolt, the overparted “name” star, the clueless newbies – but there have also been great Queler nights, where a forgotten masterpiece made everybody’s eyes shine (while we wonder why on earth this is obscure), familiar singers do things you never dreamed they could do, and the unknown names are names everyone will know someday, are, well, great opera nights. Edgar was a blend of familiar (Puccini melody) and unfamiliar (but those tunes were better in other scores), with a star giving a star performance, a couple of promising youngsters, and an oldster out of depth and style but camping it up to thrill us.

Edgar is like some disreputable relation you always enjoy running into for their exuberance and oddity, and are grateful not to meet at every family party. Puccini’s second opera and first full-length effort deserves its obscurity (which is legend); one hears it nowadays mostly from a lack of anything else to scrape from the exhausted barrel of the later Italian line. (Though another association, Teatro Gratticielo, has done an impressive job resuscitating verismo works of unexpected worthiness and charm.)

The problem for Puccini – as no one knew at the time but we easily detect in hindsight – is that he didn’t quite know how to tug our heartstrings with a male protagonist. The women here are a study in contrast (goody-goody soprano, wicked, sexy mezzo), but neither has enough room, musically or dramatically, to become a living, memorable figure. Why is Tigrana such a shallow sensualist? Because she’s a Gypsy foundling? But Carmen, to take another such, has a range, an inner life, a distinctive outlook in any single act of Bizet’s opera that makes Tigrana seem an irritable child. Why is Fidelia so loving, no matter the provocation? Is it because of her name? The story takes us no deeper than that. (Again: compare Bizet’s Micaela, a fully-rounded person with a comprehensible inner life.) Puccini could make a drama out of sympathetic or unsympathetic women – but he could not (at this early stage) make one from a pair of cardboard shadows.

Therefore the outpourings of self-disgusted melody from Puccini’s protagonist (though they produce a terrific night for the right tenor, and Marcello Giordani, our best Puccini tenor nowadays, was in clover) may arouse applause but they never create interest in the outcome of this bitter little story of a man caught between a saint and a whore. The only question: will Tigrana stab herself? Or will she stab the neurotic Edgar? Or the innocent Fidelia? is not very interesting. (Which would you choose, if your objective was to shock your audience? And that was always Puccini’s aspiration.)

Queler has conducted this score before, an occasion I barely remember: it is difficult to imagine Renata Scotto sinking her teeth into Fidelia to any great degree (there’s so little meat), but Grace Bumbry surely had fun with Tigrana and we missed her on Sunday. Edgar is a lush score with verismo outpourings but also a grand concertato near the end of Act I left over from bel canto style (Puccini never wrote such a thing again) and several “ecclesiastical” numbers (vespers, a requiem) that were perfect for his family tradition.

Giordani sang with a bright, metallic sheen and an ease conspicuously lacking in his Met Ernani. It was a performance of little variety, agreeably loud (and OONY regulars like it loud), but with some interesting colors during the character’s scenes of teeth-gnash self-loathing, which include a sermon in disguise at his own funeral.

Latonia Moore, one of Queler’s stable of rising young sopranos, has a sumptuous, beautiful, crowd-pleasing voice, but it was not clear from separate, limpid, often wonderful phrases if she can put things together into a fully rounded presentation because sweet Fidelia offers such slight opportunity to do so. But the notes themselves were so wonderfully produced that one longed to hear her in more familiar repertory to see if she’s the real thing – too many ladies have fallen by the wayside in recent years as the Verdi/Puccini soprano we all long to die for.

Jennifer Larmore, alarmingly pudgy a couple of years ago, is now alarmingly rail-thin. Her acting was suitably over the top for Tigrana the heartless vamp (Theda Bara couldn’t have outplayed her), but the voice (never a Puccini-verismo voice) was not up to the role: the luscious dark colors that floored us when she first came on the scene are completely gone, and she sounded thin, overstretched, unsensuous. This role was written for a blockbuster mezzo – where was Dolora Zajick when we needed her? (Stephanie Blythe or Olga Borodina would have had fun with it, too. And all three have sung with Queler.) Larmore was all pose and gown, and she appeared to have stolen the gown from Karita Mattila’s recital wardrobe.

Stephen Gaertner, a frequent figure in concert operas and a recent Met debutante (Enrico, Melot), was impressive as Fidelia’s manic brother, Frank. “Parli il pugnale,” he and Giordani cried at one point – “Our swords will speak for us!” – when they are about to do dubious battle over Tigrana’s much contested (living) body. That tells us right there that the story is too archaic for the era Puccini lived in.

Fortunately, the swords did not do the singing.

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):