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

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):