Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

OPERA TODAY ARCHIVES »

Performances

Natalie Dessay and Juan Diego Florez
04 May 2008

La Fille du Régiment at the Met

When the Met presented La Fille du Régiment for Lily Pons during World War II, she sought permission to wave the Cross of Lorraine, symbol of Charles de Gaulle’s Free French, during the Salut à la France in Act II.

Gaetano Donizetti: La Fille du Régiment
Metropolitan Opera, performance of April 29.

Marie: Natalie Dessay; Tonio: Juan Diego Florez; Marquise: Dame Felicity Palmer; Sulpice: Alessandro Corbelli. Conducted by Marco Armiliato.

Above: Natalie Dessay (Marie) and Juan Diego Florez (Tonio)

 

The Met management opposed the idea (what next? setting operas in contemporary costumes?), but Pons was a diva of the old school, impossible to discipline or embarrass — she knew the wartime audience would roar and that Met General Manager Edward Johnson wouldn’t dare reprimand her. As for the opera — if a diva is cute and funny and has the high notes (Pons, we hear, scored on all three counts — so, in my own experience, did Sutherland and, at least in early years, Sills), then nothing can go wrong: Donizetti’s vehicle is a ’54 Chevy, handsome, unpretentious and unbreakable. Fill ’er up with high octane and she’ll take you where you want to go.

Too, since Pavarotti revealed the opera as a tenor vehicle as well, the boys get to share the limelight, and for the last few years (at least since Hermione Gingold began to camp it up — recent entrants include Montserrat Caballé at Covent Garden), the two-line speaking role of the Duchess of Krakenthorp has expanded like an accordion to become a major player. At the Met these days, Marion Seldes gets two scenes and two outfits, as many costumes as the prima donna.

Having heard last Saturday’s broadcast (full of audience giggle), I went to the Met’s new production of La Fille (shared with Covent Garden and Vienna) expecting to lean back and enjoy myself, and I did. So, as far as I could tell, did everyone else in the packed house. First of all, there’s the irresistible Donizetti fable, full of sentimental regret (during the reign of pacific Louis-Philippe) for the days of Napoleonic gloire, with march-time send-ups and regimental ditties (what does “rat-a-plan” mean? It’s not in my Larousse), as well as sentimental numbers that almost play themselves — the duet where Tonio and Marie “prove” their love to each other’s exacting specifications, the delicious trio of old comrades, “Tous les trois réunis” — all of it melodious, hilarious, touching by turns, a musical with good singing and no agonized American idols. La Fille couples lack of pretension with Donizetti’s deft, professional hand at achieving exactly what he wants to achieve: the characters do not surprise us — they’re much too straightforward for that — but they’re worthy of the happiness they want, and our hearts are warm when they get it.

Laurent Pelly’s production has a backdrop concocted by Chantal Thomas from nineteenth-century European maps that form a mountainous Tyrolean landscape on which Juan Diego Florez (who grew up in the even steeper Andes, right?) takes an occasional pratfall while otherwise twirling like a curly-headed Fred Astaire in lederhosen. If the guy, lately married in the cathedral of Lima, loves his new bride half as much as he loves cutting up for 4000 strangers she’s a lucky woman.

Natalie Dessay is charming when singing showpiece roulades while ironing longjohns, when advancing on the enemy while seated on the floor in a doll-like position, when striding about the stage with robotic gestures — the same gestures and movements that tickled us when she played Olympia in Hoffman and Zerbinetta in Ariadne. But the constant mugging, intentionally or not, distract from imperfect fioritura and breathless concluding notes, indeed from vocalism — you have to force yourself to pay attention to the singing to notice it is being done at all. I could have done without a great deal of the frenetic business — she never calmed down long enough to let us enjoy the beautiful music she and Donizetti might have made together. Charm is undercut by this level of aggression, and it is possible to charm, even in knockabout farce, without channeling Lucy Ricardo. Nor is it necessary to make invidious comparisons to the equally funny but musically richer performances of Sutherland or Sills (or Freni, who sang the loveliest, purest “Il faut partir” I’ve ever heard). Merely cast an eye on Florez for balance: yes, he gallivanted adorably, yes he sang eighteen high C’s — pure, even, perfectly produced high C’s at that — in order to provide an encore, and stepped out of character to bow when they were done — but when it was his turn to be Tonio, the naïve and ardent lover, and to be quietly sincere, then quiet sincerity is what he gave us. He knows when to turn off the spigot of farce and still be present. Dessay does not seem to know how to do this, and her constantly jokey performance in due course tired me out. Perhaps if she’d put a little of that gag energy into maintaining a bel canto line, we’d have real opera here.

When Florez first set foot on the Met stage a few years back, his rapture at having an audience to delight was like an electric shock passing visibly through his body and outwards to tingle everyone present, but though his Rossini technique was surely the most extraordinary of any tenor in a hundred years, the voice itself (as he admits) was gruff, unbeautiful, lacking sensuality. The instrument has lately grown larger and more lyrical, more capable of sustaining beautiful sound, with no noticeable decline in flexibility and an ease at filling an enormous theater that can only thrill. Too, he knows how to act like an oaf so as to win any and every heart. A perfect performance.

Felicity Palmer makes an elegant eldritch marquise (though why her German schloss of Berkenfeld has added a letter to become the English Berkenfield is a puzzle) and Alessandro Corbelli a stout, bald Sergeant Sulpice. After a scrappy slog through the overture, Marco Armiliato shaped up in the pit, and gave every sign of enjoying himself. Mention should be made of choreographer Agathe Mélinand, whose four housemaids polishing furniture while doing ballet exercises had us all in stitches, and who — I presume it was her idea — had the soldiers keep waltz-time with their helmeted heads to Florez’s encore.

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):