Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

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).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvonovsky as Sister Angelica [Photo by Robert Millard]
22 Sep 2008

Puccini's Il Trittico at Los Angeles Opera

A few seasons back, Los Angeles Opera invited William Friedkin to direct a double-bill of Bartok's Bluebeard's Castle and Puccini's Gianni Schicchi.

G. Puccini: Il Trittico

See body of review for cast lists

Above: Sondra Radvonovsky as Sister Angelica [Photo by Robert Millard]

 

The Bartok featured a spare set with ghostly lighting effects and puppets, and ended with Samuel Ramey's Bluebeard garroting Denyce Graves's Judith onstage with her flowing red scarf. Later, in his manic Schicchi, the bird puppets from the Bartok made a reappearance, linking the two productions.

In contemplating a full staging of Puccini's brilliant (if unwieldy in terms of length and staging requirements) Il Trittico, LAO decided to dispense with Friedkin's earlier Gianni Schicchi but to ask the director to create productions of the first two parts of the triptych, Il Tabarro and Suor Angelica. For the comedy, Placido Domingo realized a long-held desire to employ Woody Allen. This show opened the 2008-09 season, and as seen on Sunday, September 21st, it proved to be a successful venture, although with a striking difference in directorial approach between the two Friedkin sections and that of Allen.

Santo Loquasto's designed traditional sets for the first two operas, impressively scaled and detailed. Friedkin had a cramped front stage area for Il Tabarro, once Michele's barge has drawn up to the wharf. Without the option of theatrical effects, Friedkin proved to be a rather routine stage director, with nothing very imaginative in his handling of the actors. Licitra's Luigi stuck his thumbs in his belt like a member of the Lollipop Guild, and Mark Delavan's Michele looked ready to kill someone from the moment he barged off his barge. Anja Kampe, however, portrayed a truly touching Giorgetta, vital if not obviously young, and sensual without deserving the harsh judgement of her husband when he suspects her of adultery. Matthew O'Neill slightly overplayed the comedy of his drunken Tinca, if enjoyably so, but both John Del Carlo (actually luxury casting for such a small role) and Tichina Vaughn as the husband and wife Talpa and Frugola made an interesting dramatic contrast to the sordid triangle at the heart of the drama.

Besides taking the acting honors, Kampe also sang with a feminine power that suggests she should look into some other great Puccini roles. Licitra is finally gaining control of his spinto instrument, although when it came time for his final big moment on the folly of jealousy, his voice didn't ring out with quite the volume he had mustered earlier in the evening. Delavan had all the gruffness needed for the darkness in Michele, but the sad and lonely side that might evoke some pity hasn't developed yet. Friedkin did find a way to suggestively link his two operas, as he had done before: this time, when the songseller appears, two nuns join the crowd.

Tabarro1.pngIl Tabarro: Anja Kampe, Salvatore Licitra [Photo by Robert Millard]

Loquasto's convent for Suor Angelica had one somewhat original touch, a grated entrance for the appearance of the Principessa, which also provided a dramatic exit after her character has delivered her devastating news to Angelica and gotten the desired signature on a legal document. Larissa Diadkova not only had all the imperiously dark tones for the role, but also a forbiddingly dark visage from the rear, as she walked away from her prostrate niece. Otherwise this was Sondra Radvanovsky's show, and she triumphed. Her huge voice didn't float the highest notes, but her threading down of the volume had the desired effect. Radvanovsky's Angelica appeared sad from the start, so her suicidal impulse made sense, but the singer also did well by the tricky moment when Angelica realizes she has committed a mortal sin and begs Mother Mary to save her. Here, Friedkin went full out, with a Mary figure in flowing robes descending from the rafters, as the son of Angelica appears from the chapel. Freidkin even had another sister appear to witness the miracle. That went over the top for your reviewer, but the amount of sniffling and sobbing in the audience provided evidence that it worked for many.

After two settings presented much as they might have looked at the opera's debut, Loquasto, for Woody Allen, went for an updating of Gianni Schicchi. We were somewhere in mid-20th century, in a huge room with a metal-works circular stair leading to a loft with no ostensible purpose. There was almost no bare space for an actor to sit, with knickknacks and housewares strewn everywhere, not to mention the spaghetti noodles still in the pot where the will would be discovered (and that spaghetti, dangling from the will, became a classic running joke that went on past its effective date). Allen has directed for the stage before, and his films tend to be more talk than action as well, so it may not be a surprise that he proved more adept than Friedkin at moving the singers around and getting individual performances from each of them. Jill Grove filled out (amply!) a truly malevolent, and ultimately murderous, Zita. Andrea Silvestri's muscular bass pushed other voices to the side as his former-mayor character strutted around the stage. Best of all, Allen found a way to make the two lovers interesting. Saimir Pirgu not only sang with the sort of hormonally-charged tenor voice needed for Rinuccio, but managed to be quite funny as well. Even better, instead of being an airheaded "daddy's girl," Jennifer Black (subbing for Laura Tatulescu) slunk on stage as a very physical Lauretta, with hips to kill, and if they don't work, a stiletto in her garter. But Allen didn't have to end the opera with the two youngsters getting down to business, or "up" to it, at the top of the circular staircase.

Schicchi1.pngGianni Schicchi: Thomas Allen [Photo by Robert Millard]
At the heart of all this farcical nonsense was Sir Thomas Allen, dropping trou with the best of them as a Sicilian underworld figure, in a dark pinstripe suit, black "wife-beater" t-shirt under his silk dress shirt, all topped by an imposingly shined and buffed head of black hair. Sir Thomas didn't hold back, and as should be, once he strutted onto the scene, all eyes were on him. But if only he could have talked his director out of the misbegotten concept just before curtain, when the enraged Zita reappears and sends Schicchi to Hades with a knife thrust. Here special credit must go to the young actor who portrayed Gherardo and Nella's son, Sage Ryan. This blonde tyke got thrown around the stage a lot, and when he cried over the dying figure of Schicchi, we shared his regret more than enjoyed any intended comic twist.

Since he came on board 2 seasons ago, James Conlon has made himself beloved here in Los Angeles, and the dynamic energy and sensitive shadings he provided these three great Puccini scores are typical of his fine work with the now first-rate LAO orchestra.

Il Trittico makes for a show of Wagnerian length (almost four hours on Sunday), but with as many merits as this production offered, it should figure in the repertory more prominently than it does. LAO now goes onto Madama Butterfly, for the third time in about 5 seasons. Your reviewer hopes this Il Trittico makes a comeback before Cio-Cio-san does.

Chris Mullins

Cast Lists
Il Tabarro
Michele Mark Delavan
Giorgetta Anja Kampe
Luigi Salvatore Licitra
Talpa John Del Carlo
Frugola Tichina Vaughn
Tinca Matthew O’Neill
Song Vendor Robert MacNeil
Suor Angelica
Sister Angelica Sondra Radvanovsky
The Princess Larissa Diadkova
Sister Genovieffa Jennifer Black
The Monitress Tichina Vaughn
The Mistress of the Novices Catherine Keen
The Abbess Ronnita Miller
Gianni Schicchi
Gianni Schicchi Thomas Allen
Rinuccio Saimir Pirgu
Lauretta Jennifer Black
Zita Jill Grove
Gherardo Greg Fedderly
Nella Rebekah Camm
Simone Andrea Silvestrelli
La Ciesca Lauren McNeese
Betto Di Signa Steven Condy
Marco Brian Leerhuber

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):