Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).



Giacomo Puccini
21 Aug 2008

Torre - Torre - Torre

I hoped it was not an omen of the evening to come at Torre del Lago’s Puccini Festival, when the audience was made to wait at the closed gates until about twenty minutes before curtain rise, listening to the orchestra and chorus a hundred yards away rehearse chunks of that night’s Edgar.

Giacomo Puccini: Edgar

Edgar (Marco Berti), Fidelia (Cristina Gallardo- Domas), Tigrana (Rossana Rinaldi), Frank (Luca Salsi), Gualtiero (Rafal Siwek). Fondazione Festival Pucciniano. Pier Giorgio Morandi (cond.)


Oh, sure, once before I cooled my heels at Amsterdam’s Concertgebouw while Gergiev pushed that orchestra through some Shostakovich piece or another, imparting his last minute thoughts while we inadvertently watched it all on the closed circuitry meant for late-comers. But that was, well, Gergiev being Gergiev in a one-off, and this was the renowned annual festival dedicated solely to celebrating beloved local son Giacomo Puccini’s operatic output. Plus, the piece had been performed just the week prior. Hey, and at festival prices, shouldn’t they have “had it down” well before curtain time?

Happily, the performance turned out to be quite an unexpected delight, an old-fashioned confection in the very best sense. Nothing ground-breaking, no real once-in-a-lifetime performances, but Edgar was nevertheless solidly sung, handsomely mounted, and unfussily directed. If it smacked a bit (and just a bit) of “instant opera,” say like in the old start-up days of smaller American companies, never you mind. The audience was there to enjoy the show, “mille grazie,” in this season celebrating the 150th anniversary of Giacomo’s birth, and enjoy it they did.

We had reason to celebrate from the git-go, for once we got into the grounds we were able to fully appreciate the new open air theatre that opened just this summer. The raked seats were comfortable enough as these venues go, the sight lines are very good, the open-backed stage (shades of Santa Fe) reveals the lovely lake behind it, the large pit could seemingly fit in a Wagner band, and the public areas are well lit, uncrowded, and accommodating.

Future seasons will probably see some fine tuning of the acoustics, particularly as regards the orchestra. From my seat, the winds seemed muted and occasionally undefined, and the strings just a little dry. Even in this early opus, there was some lush Puccini string work that didn’t soar and throb the way it might have. The brass certainly had ample presence and prominence, although marked by several (mercifully) brief sections of rhythmic imprecision (if only they had had five more minutes of rehearsal!).

Pier Giorgio Morandi conducted very cleanly with excellent stage balance, though sometimes sacrificing the infectious youthful brashness of the score for tidiness of ensemble. At phrase ends here and there he was not always emoting in sync with his soloists, among whom Marco Berti gets pride of place for his consistently well sung title role. Mr. Berti has a true spinto sound, clearly focused and ringing, and he caressed his phrases with insightful musicality and a pleasing sense of Italianate line. Sustained high notes rang out with secure abandon. He is a large man, and was not always flattered by the schmatte-like tunic-’n’-tights outfit, nor by the long tangle of hair, eerily making him look at times like Mama Cass with a mustache. But, “Dio mio,” did he sing well.

He was almost matched in vocal excitement by the dark-hued mezzo of Rossana Rinaldi as “Tigrana.” She not only served up all the fireworks in the writing, but also encompassed highly affecting legato singing. “Tigrana” is a rather improbable dramatic entity, but Ms. Rinaldi got by with a brazen combination of selective elements of “Carmen” and “Jezibaba,” with a nod to Wicked’s Witch en route to “Baba the Turk.” The extensive tenor-mezzo duet that comprises most of Act II was arguably the high point of the night.

I was especially interested in finally hearing Cristina Gallardo-Domas, who has been singing all over the map, most notably in the Met’s much discussed Madama Butterfly. She is a lovely woman; petite, poised, and appealing, and she maintained a star presence throughout. Her pretty lyric voice was capable of some ravishing piano effects above the staff, every bit as good as the kind that Sills and Scotto used to do so remarkably well.

But while those two divas found a way to manufacture the impression of a bit more heft in their instruments, Ms. Gallardo-Domas seemed to be really stretching to meet “Fidelia’s” demands. Perhaps at the Met, with more grateful acoustics (?) she can fill the place, but in this open air theatre she was pushing her smallish tone to the limit, which at times induced an unwelcome wobble on arching lines that came perilously close to sounding like a musical saw. Pity. I suppose she is now on an irrevocable career path of her (and the major houses’) choosing, but I really hope that her lovely and considerable gifts don’t get burned out by spinto roles that are best left to larger voices. We do need her. But as “Manon.” Not as “Manon Lescaut.”

Strapping Luca Salsi was really all one could wish for as “Frank,” possessed of a ringing, easily-produced baritone of fine presence, that was passionately deployed. His famous aria gave much pleasure. The small role of “Gualtiero” was essayed with dignity and a rolling bass by Rafal Siwek, who looked too young, however to be father to “Frank” and “Fidelia.”

The new production featured an appealing and wholly functional set design by internationally-known artist Roger Dean. A large unit on a turntable is first seen as a quasi half-timbered fairy-tale house. The green-tinged roof that sort of puffs out over the gables is a Gaudi-meets-Grimm affair, a fanciful structure that would not be out of place in Munchkin land. The delightful playing space is further defined by moss- and vine-covered stone stairs stage right and left.

The unit revolved to reveal Act II’s love palace get-away, a playful blue-walled, orange- domed fantasy abode of that lust nest monster “Tigrana.” Turning once again, the Act I house had been removed to reveal Act III’s handsome rocky promontory with caves and stairs. It was visually interesting and afforded good levels for such things as the placement of two banks of trumpets for impressive on-stage fanfares. By adjusting and re-dressing the stairs, Dean came up with a very effective look for “Edgar” and gave the Festival an attractive and practical set that will serve the opera very well for years to come.

An amazingly effective lighting design was achieved with nothing but side lighting (save very sparing use of follow spotlights). It is puzzling why the new theatre did not include a lighting batten or two up front, but as of yet, it offers the challenge of getting an even wash and some appropriate effects with the resources at hand, a challenge that was met quite nicely.

Mr. Dean’s daughter Freyja Dean created the costume design. While the attractive garb for the principals (excepting that previously mentioned tunic), the colorful peasant dress, and the appropriate military outfits looked just fine, they seemed a little anonymous, as though they had been picked off the rack at a good rental house. One unfortunately funny costume moment occurred when our tenor tore open his monk’s robe disguise to reveal himself as the very-much-alive “Edgar,” unintentionally framing his generous belly unflatteringly just as “Fidelia” must scream a high note in shock. (Aw c’mon girlfriend, it’s not that big. . .)

Vivien A. Hewitt’s direction told the story clearly, if mostly uninventively. The movement and character interaction wanted specificity, and all soloists seemed to be left to wandering improvisation at times. “Tigrana” in particular had little to do but pace and act endlessly “trapped” when she was apprehended by the mob in Act III. The dumb-show of “Frank” and “Edgar” jousting on stylized rolling horse sculptures in the same act did not so much suggest “Edgar’s” (false) death, as it served to confuse us in an already squishy dramatic through line. The dagger play both on- and off-horseback was some of the least effective and most tentative I have ever encountered this side of a children’s playground. Still, the massive cast was impressively moved on and off with well-considered precision, and the stage pictures were appealing and dramatically informative.

And just how often does one get a chance to see the minor Edgar given such a major treatment with such an honest effort from a talented production team, a first-rate set of principles, and a well-led professional orchestra? Also deserving mention was the full-throated, precise singing from the Festival Chorus under the direction of Stefano Visconti.

The Puccini Festival offered up a very satisfying rendition of the master’s piece, and the partisan audience was still cheering it long after I made my way to the hotel shuttle van. They may be cheering it still.

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):