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

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

OPERA TODAY ARCHIVES »

Performances

Vincenzo Bellini
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.

Vincenzo Bellini: Les Capulets et les Montaigus

Capellio (Giovanni Battista Parodi), Giulietta (Anna Netrebko), Romeo (Joyce DiDonato), Tebaldo (Matthew Polenzani), Lorenzo (Mikhail Petrenko), Orchestre et Choeurs de l’Opéra national de Paris, Direction musicale (Evelino Pidò), Mise en scène (Robert Carsen), Décors et costumes (Michael Levine), Lumières (Davy Cunningham), Chef des Choeurs (Alessandro Di Stefano).

 

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.

capulets2.pngJoyce 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.”

James Sohre

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):