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 Reviews

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

OPERA TODAY ARCHIVES »

Reviews

Pasión Española
30 Oct 2008

Portraits of Domingo and Pavarotti

While the tributes and retrospectives continue to appear for the late Luciano Pavarotti, his sometime-colleague (if not rival) Plácido Domingo maintains a top-rank career, even including a contract with Deutsche Grammophon for new studio work.

Pasión Española

Placido Domingo, Orquesta de la Comunidad de Madrid, Miguel Roa

Deutsche Grammophon 477 6590 [CD]

$15.99  Click to buy

Both tenors were blessed with distinctive, appealing instruments, and if the inclination might be to find Pavarotti’s voice more beautiful, Domingo often got the credit for being the more dramatic, impassioned performer.

Pavarotti_Story.pngDecca’s The Pavarotti Story covers the singer’s career amply, with one disc dedicated to his studio recordings of the great tenor arias, another full of Italian song and such sacred favorites as the Bach/Gounod “Ave Maria.” Two “bonus” discs fill out the set; one is a 37 minute interview with a John Tolansky, whose obsequious style can be deduced from the first track quotation, “Luciano Pavarotti, you have been a legend in your lifetime…” The second bonus disc begins with the first 5 recordings Pavarotti made in a studio, released on an EP in 1964 (Decca had already released these tracks on the earlier compilation, “For Lovers Only.”) That disc is comprised of tracks, mostly duets, that don’t do Pavarotti’s “legend” much credit. The “Pearlfishers” duet with Nicolai Ghiaurov should have been a winner, but the slow pacing makes for a lugubrious tone. “Nessun dorma!” with Carreras and Domingo, from the first “Three Tenors” affair, becomes a scream fest. And better to pass over the tracks with U2, Elton John, and even Frank Sinatra (at the end of his career) in silence.

Ah but the first two “non-bonus” discs confirm the legend. In Bellini and Donizetti, the voice has a delectable sweetness, whether punching out the high C’s in the Fille du Regiment aria or silkily spinning out the long legato lines of “A te o cara.” The Puccini arias have a sensuous masculinity; the Verdi selections showcase Pavarotti’s beefier side (including a credible “Nium mi tema.” And those who fall asleep in Idomeneo need to listen to the gorgeous, detailed “Fuor del mar.”

True, the arrangements on the songs disc get a bit tacky (especially those with Henry Mancini), but no one will ever quite spin through Rossini’s “La Danza” as Pav did, or make “O sole mio” sound so fresh again.

The set comes with one lavish booklet with a biography and track notes, and another with a full discography.

Domingo’s disc, Pasión Española, presents 13 selections in a popular Spanish song form called “copla,” according to the booklet essay. Although the disc credits 5 composers, no distinctive voice emerges. Most of the tracks feature extensive instrumental introductions, with many a familiar gesture of rhythm and melody, like a cartoon setting up a Spanish locale. The lyrics tend to trite expressions of frustrated or ecstatic love, and much bitter jealousy.

A whole disc of coplas, in other words, goes a long way. But if listeners were to hear a track or two individually, they might well be caught up in the conviction Domingo brings to the project. No, he doesn’t sound like a young man, but age seems to have only deepened the bourbon-hue of his tenor (often called “baritonal”), and for sheer vocal production Domingo makes the disc enjoyable.

Miguel Roa and the Orquesta de la Communidad de Madrid provide the professional accompaniment.

If somehow an opera lover needs one set of Pavarotti at his best, they can be satisfied with either “For Lovers Only” or this “The Pavarotti Story.” For all but his most devoted fans, there are better recordings in the Domingo library to enjoy than Pasión Española.

Chris Mullins

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):