Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

OPERA TODAY ARCHIVES »

Reviews

Diana Damrau in the title role and Vladimir Stoyanov as Enrico in Donizetti's
31 Oct 2008

Lucia di Lammermoor at the MET

Mary Zimmerman’s unmusical production of Lucia certainly improves if you give it a cast of singers who know what Donizetti is about.

G. Donizetti: Lucia di Lammermoor

Lucia: Diana Damrau; Edgardo: Piotr Beczala; Enrico: Vladimir Stoyanov;

Above: Diana Damrau in the title role and Vladimir Stoyanov as Enrico in Donizetti's "Lucia di Lammermoor."

All photos by Ken Howard courtesy of The Metropolitan Opera

 

This was true in the autumn revival (the cast will change again come spring), but some of the dopier director’s touches have been toned down a bit, and to top it off, there was a major set malfunction at the Saturday performance: the great spiral staircase that is the center of the action in Act III was a no-show, and the chorus and soloists were obliged to invent new business on a bare stage on the spur of the moment – which they did, improving markedly on last year’s skit.

The stars of the night – who brought the audience to its feet, and kept them cheering, though it was already half an hour past midnight – were Diana Damrau and Piotr Beczala. Damrau is a full-voiced dramatic coloratura, a type we haven’t heard much of late (who was the last one? June Anderson, perhaps), and her cool, beautifully straightforward soprano is carved from golden ore not unlike Joan Sutherland’s. She imitated that lady in several Mad Scene touches, and though lacking a genuine trill and a perfectly secure top, gave a credible version of her style of Lucia, adding many dramatic touches, perhaps just because she was feeling the part and the occasion. She can certainly improvise on stage, never one of La Stupenda’s skills.

Item: During her first cabaletta, “Quando rapito in estasi,” when her luscious high legato was being amusingly shushed by Michaela Martens’s Alisa, Damrau occasionally sacrificed flawless phrasing to cute little jokes. This gave us an idea of Lucia as a person, a Scottish girl with a sense of humor – but as that is not the Lucia she played in later acts (or that Donizetti wrote), I couldn’t quite see the point of it, and would have preferred more of that easy, purling legato.

Item: Damrau showed rather more fire in confronting brother Enrico – Dessay played a feather in the wind, with no fight at all – but the music says “fire,” and Damrau played fire. But I think it an error to have her palm a dagger at the end of the scene – she is not planning bloodshed; she will do it on the spur of the moment.

Item: She did not seem oblivious to everything around her during the sextet, as Dessay did. That never made any sense. (Wouldn’t Arturo notice?) Damrau tried to keep an eye on the violence while posing for the photographer. She sang it beautifully, too. The photographer was not so obtrusive as last year, but still unnecessary – Zimmerman put him in because she thinks there is nothing happening when people are merely standing about singing. That is fundamentally not the case in bel canto opera, or we wouldn’t be at the opera – in bel canto, singing is the action, is the point. Zimmerman was the person who shouldn’t be here. Neither should the photographer. Or the ghost. Or the doctor in the Mad Scene. Or the distracting servants changing the scenery when Raimondo sings his cabaletta. But mostly Mary Zimmerman.

LUCIA_Damrau_1229a.pngDiana Damrau in the title role of Donizetti’s “Lucia di Lammermoor.”

Item: The shocked turn of the head when the flute solo intrudes in the Mad Scene, Sutherland’s signature, was well achieved, and the craziness was lower key, more integral, than Dessay’s, but what really thrilled in this long stretch of bravura singing was the dramatic variety and color Damrau brought to Lucia’s mad changes of mood: elegiac (with a truly ghostly glass harmonica accompaniment) during the wedding hallucination, cries of grief defending herself to the imaginary Edgardo, and then, after (in this production) the doctor has injected her with a sedative, singing the second verse of the cabaletta in an ever more woozy, weavy way, like an exhausted bird spiraling down to the floor. It was a complete characterization.

Damrau’s voice, large, suave, cool, lovely, after a few wooden phrases in the lower ranges in her opening scene, filled the house with no trouble at all, and turned into glittering silver cascades at Lucia’s dreamy moments. It was the prettiest Lucia at the Met since the heyday of Ruth Ann Swenson, and first-rate bravura acting as well.

LUCIA_Beczala_0435a.pngPiotr Beczala as Edgardo in Donizetti’s “Lucia di Lammermoor.”
The evening’s second star – by a hair (and because Donizetti designed the opera for prima donna) – was the Polish tenor, Piotr Beczala. He has a rich, liquid tenor of exceptional quality, top to bottom, with a never overstated sob when necessary, and urgency when the dramatic moment demands. Too, he fills the house with it, without pushing or barking. Edgardo is a plum for the tenor who knows how to seize it, and Beczala did not waste anything. Withal, he cuts a slim, handsome figure, is a good actor, and his Italian diction is impeccable. It was easy (if a pity) to shut one’s eyes and enjoy oneself whenever the direction demanded he do something stupid. The one thing I might have wanted that was not here, vocally, was a bit more maddened forza during the famous Curse after the Sextet, a moment that can make or break a tenor’s reputation.

Vladimir Stoyanov’s baritone sounded a bit hollow in the opening scene, but he sang it, not screamed it, and that is a good thing. He warmed up by Act II, but (aided by a plain face and an unattractive pre-Raphaelite haircut) he always remembered he was the nasty in this opera. Ildar Abdrazakov used his height and sturdiness to enhance the impression his singing gave that Raimondo is the still, sane center of this damnfool family. Sean Panikkar – much too tall and strapping for a fellow who is knocked over and dispatched by a slip of a girl in thirty seconds flat – sang a promising Arturo, matching the impression he made as Edmondo in Manon Lescaut last year. (Don’t blame Donizetti for the folly of this: it was Zimmerman’s idea to cut the murder to thirty seconds by having bride and groom climb the staircase at the scene’s opening. Donizetti and his librettis, Romani, would never have been so dumb.)

LUCIA_scene_Damrau_9249a.pngA scene from Donizett’s “Lucia di Lammermoor” with Diana Damrau in the title role.
Damrau seemed especially delighted to run off stage during the curtain calls to bring on conductor Marco Armiliato; she hugged him, and he waved a bit of bloody veil at us. Doing a staircase Mad Scene impromptu, with no staircase, calls for reliability in the pit, and he was happy to stand in for the rickety stairs. Certainly he propelled things capably, kept cool while those on stage invented, and the ghostly orchestral effects that can fade for lack of attention were on this occasion exceptionally noteworthy, moody and striking.

The crowd, rather small for a Saturday night, stuck it out, and responded with enthusiasm. You have to wonder what the effect on the audience would have been with such a first-rate cast if they had been performing in a decent, old-fashioned staging of an opera that, after 175 years of success, really doesn’t need a tyro director’s helping hand.

John Yohalem

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):