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 Reviews

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

OPERA TODAY ARCHIVES »

Reviews

Poster of Verdi's Falstaff
24 Oct 2008

Falstaff at Pimlico Opera, Cadogan Hall

Pimlico Opera is based at the Grange in Hampshire, home of the Grange Park opera festival, but pre-dates its sister company by a decade and has been giving national tours of popular operas since the 1980s as well as doing some pioneering opera and music theatre projects in UK prisons.

G. Verdi: Falstaff

Falstaff (David Alexandre Borloz), Ford (James Cleverton), Alice (Rebecca Cooper), Nanetta (Verity Parker), Quickly (Emma Carrington), Meg (Margaret Rapacioli). Fenton (Patrick Ashcroft), Pistol (Hyalmar Mitrotti), Caius (James Scarlett), Bardolph (Gareth Morris). Grange Park Opera. Conductor: Alice Farnham. Original Director: Daniel Slater. Revival Director: Hazel Gould.

Above: Poster of Verdi's Falstaff

All photos by Alistair Muir

 

There are many concessions which have to be made when touring on a budget, and nothing about this Falstaff was as big as it normally is. The score, which had several cuts, was performed in an (uncredited) arrangement for an orchestra of fewer than 30, and no chorus (the principals making up the vocal ensemble wherever appropriate). At London’s Cadogan Hall there is nowhere to put a backdrop, and all that survived of the adaptable touring set was a versatile set of blocks which transformed into the various different settings with the addition or subtraction of panels or furniture. The scene changes — given that Cadogan Hall has no curtain — were entertaining to watch, almost little scenes in their own right.

Daniel Slater’s production (revived by Hazel Gould) was performed in modern dress, and Act 1 Scene 2 used one of the favourite generic settings for contemporary productions, the luxury health club complete with sun-loungers. It was colourful but not very original, and the possibilities of the setting were ignored — why couldn’t Act 2 Scene 2 be set there too, with Falstaff being dumped in the swimming pool at the end? But no, for that scene we were in the traditional setting chez Alice, with the Thames running past the back door as per the original stage directions. At least there was one bit of business which utilised the unusual layout, with the orchestra to the right of the stage area; Falstaff hid from Ford by crouching next to the band and attempting to blend into the violin section.

Falstaff himself was also on a smallish scale, with minimal padding, but while the young Swiss baritone David-Alexandre Borloz lacked physical bulk, there was nothing insubstantial about his vocal resources, which were if anything a size too big for the intimate venue. James Cleverton’s Ford was also impressive. Rebecca Cooper’s neat, classy Alice was vocally secure, but dramatically she was upstaged by Emma Carrington’s sardonic Quickly and Margaret Rapacioli’s Meg with her wonderfully expressive eyes.

As Fenton, Patrick Ashcroft’s tenor was rather monochrome and lacked bloom in his lovely Act 3 aria, but he had a natural and charming stage manner, while Verity Parker’s Nannetta was a vocally appealing and believably youthful girl-next-door (though I couldn’t work out why was she made to wear a black cloak over her white fairy costume — she would have looked far more effective without).

Falstaff205.pngDavid-Alexandre Borloz (Falstaff) and James Cleverton (Ford) in The Garter Inn. Pimlico Opera 2008.

Alice Farnham conducted with vigour, but the limitations of the reduced score were evident throughout — the lack of richness in the opera’s musical texture was a significant loss to the piece. It was just as well that Verdi’s final opera (not, as the programme stated, his only comedy) is virtually indestructible, and that the cast was a more than solid ensemble. The joy of the final fugue could not have come across more effectively on the stage of a major international house.

Regrettably, the audience, too, was pared down — the small hall was far less than half full.

Ruth Elleson © 2008

Falstaff274.png(L-R) Verity Parker (Nanetta), James Cleverton (Ford), Rebecca Cooper (Alice), Patrick Ashcroft (Fenton) and Margaret Rapacioli (Meg) Act 3, Scene 1. Pimlico Opera 2008

Click here for an excerpt via YouTube.

[Editor’s Note: It is with deep regret to note that David-Alexandre Borloz (age 32) died in his sleep on 19 October 2008]

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):