09 Jun 2008
Star Power in Paris “Capuleti”
For Bellini’s “I Capuleti e i Montecchi,” Paris Opera peopled its revival with plenty of star power.
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
For Bellini’s “I Capuleti e i Montecchi,” Paris Opera peopled its revival with plenty of star power.
No question that soprano Anna Netrebko is one of opera’s most visible, most glamorous, and most sought-after marquee names. And the French are positively nutty for mezzo Joyce DiDonato (the rest of the world is catching up) who has scored several (deserved) major career successes in the French capital. Small wonder then that there was a profusion of musical thrill seekers brandishing “je cherche billets” placards outside the sold-out Bastille house.
To get it out of the way up front (as it were): in spite of being five months pregnant, Ms. Netrebko was a radiant and wholly successful “Giulietta.” She was beautifully costumed in a flowing white gown to minimize the modest protrusion of a tummy, and she moved with her usual freedom and grace, including carefully assisted kneeling and fainting moments as required by the plot. Only when she was flat on her “dead” back did her condition become more apparent.
Her full-bodied, creamy lyric voice not only rang out thrillingly in the hall, but she commanded several breathtaking high-flying pianissimi as well. In her current “condition” it seemed that she may have divided up a few of the longer phrases to maintain breath control, but nowhere was this disturbing to the overall line. She nailed all of the familiar set pieces, and the audience responded with predictably enthusiastic ovations.
For all her star quality, natural beauty, musical gifts, and attendant adulation, Ms. Netrebko seems to be a sincere and unaffected colleague, deferring the stage to her co-stars as the focus of the drama requires. A wonderful collaborator, a fine voice, alluring presence, Anna is the real deal without seeming to be a real diva.
To say that she was matched in star power by mezzo Joyce DiDonato’s “Romeo” would be an understatement. Ms. DiDonato has a wide-ranging, high-powered, personalized and slightly reedy voice that she deploys fearlessly to communicate every fine point of this complicated love-torn character. There is no nuance of this role that escapes her. The deeply felt cry when “Giulietta’s” corpse was unveiled broke my heart. She is a fine artist, with perfect diction and total understanding of the text and the internalized emotion behind it. For the record, she was given the final bow, after the more famous Anna (perhaps because the soprano has asked that Patrizia Ciofi spell her for three performances of the run?).
As if these two would not be enough cause for celebration, the entire show was cast from strength. Mathew Polenzani (“Tebaldo”) served notice right at the top that we were in for a sensational night, his refined lyric tenor ringing out in the house, and his first aria/cabaletta as fine as we could wish. “Lorenzo” was so well-voiced by Mikhail Petrenko, and “Capulet” by Giovanni Battista Parodi that it was a pity there was not more for them to do.
Joyce DiDonato and Anna Netrebko (Photo by Christian Leiber courtesy of Opéra national de Paris
Robert Carsen directed the original production and it is hard to know how much he participated in the revival. An assistant, Isabelle Cardin is also credited. Whoever, this was excellent work. Carsen knows how to place singers on the stage so we are hearing them to maximum advantage, and he knows how to move them logically to those positions through motivated blocking and well-considered character interaction. Good God, a director who knows how to tell the story!
He found an excellent partner in Michael Levine, whose handsome red-paneled walls provided a wonderful playing space with the simple addition of set pieces (stairs, bed, banquet table). The chapel was especially effective with a wide band of light emanating from up left and rows of chairs as pews providing all that was required. The tomb was no less effective, with one wall panel tellingly removed to create a tomb that was ready to accept “Giulietta,” who lay in a pool of light surrounded by flower petals, and was backed by back-lit choristers on a slightly akimbo staircase.
The team immediately established the important background of conflict by having swords stuck in the stage apron which were plucked up by the assembling “Capulets” during the overture. This visual theme was returned to at the end of Act One when the clans square off by advancing on each other and locking weapons in a group freeze center stage at curtain fall. And in a brilliant tweak, at work’s end the two forces assemble in the same aggressive tableau around and over the dead bodies, visually stating that no matter how profound the tragedy, we will walk over the corpses to have history repeat itself.
One other brilliant touch: Act Two opened to the same chapel as had closed One, but revealing dead bodies and over-turned chairs, the sad result of war. As “Giulietta” sank down to her “death,” the dead rose again in a chilling effect, as if on Judgment Day, to welcome her to their ranks. The sumptuous red velvet period costumes (black for the “Montagues”) were exactly right, and provided an elegant sense of time and place.
Conductor Evelino Pidò’s reading of this score was a revelation. I cannot ever remember being so persuaded by the music, or so engaged in, and moved by the drama of Bellini’s somewhat flawed version of the famous tale. The solo work from the clarinet, cello, harp, and horn was top drawer, and indeed the entire orchestra performed splendidly.
There are those who may have come to “I Capuleti e i Montecchi” because it was “the event” of the season, but they most certainly stayed to cheer it to the rafters because it was just so damn’ good. Make that “great.”