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 Performances

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

The Gardeners: a new opera by Robert Hugill

‘When war shall cease this lonely unknown spot,/ Of many a pilgrimage will be the end,/ And flowers will shine in this now barren plot/ And fame upon it through the years descend:/ But many a heart upon each simple cross/ Will hang the grief, the memory of its loss.’

Richard Jones's Boris Godunov returns to Covent Garden

There are never any real surprises with a Richard Jones production and Covent Garden’s Boris Godunov, first seen in 2016, is typical of Jones’s approach: it’s boxy, it’s ascetic, it’s over-bright, with minimalism turned a touch psychedelic in the visuals.

OPERA TODAY ARCHIVES »

Performances

Anna Grevelius ( Rosina ) John Tessier ( Almaviva ) [Photo by Alastair Muir]
06 Oct 2008

The Barber of Seville — English National Opera, London Coliseum

It can be difficult to inject life into a production which has been a staple of a company’s repertoire for over twenty years.

G. Rossini: The Barber of Seville

Figaro (Garry Magee); Rosina (Anna Grevelius); Count Almaviva (John Tessier); Bartolo (Andrew Shore); Don Basilio (Brindley Sherratt); Berta (Jennifer Rhys-Davies); Fiorello (Julian Hubbard). Conductor: Rory Macdonald. Original Director: Jonathan Miller. Revival Director: Ian Rutherford.

Above: Anna Grevelius (Rosina) John Tessier (Almaviva)

All photos by Alastair Muir courtesy of English National Opera

 

Jonathan Miller’s durable production of Rossini’s most popular opera has returned almost every second season since its 1987 première, and though it has its longueurs (as does the opera itself) the thing that has kept it fresh is its straightforward attractiveness and humour. The company’s casting department has a large part to play in its enduring success, too – Tanya McCallin’s straightforwardly functional period set is normally populated by a combination of company veterans and fresh and promising young artists, with the result that it always feels like a successful ensemble piece with an eternal spark of life.

One thing which wasn’t new was Andrew Shore’s Bartolo; he has become a fixture in this production, to the extent that on the advertisement posters scattered around London’s transport system it is his name alone that is emblazoned next to the title of the opera. His gift for delivering words when singing in English is quite unequalled, and he plays the staging’s physical comedy to maximum effect. Sometimes in the past this has resulted in an imbalance, because with Shore as Bartolo it takes a particularly strong and characterful Rosina to convince the audience that she could credibly get the better of him. Fortunately the young Swedish mezzo Anna Grevelius was his ideal foil; a beautiful girl who always had a glint in her eye, and whose warm and rounded tone and lovely sense of bel canto line were combined with pinpoint accuracy of pitch and diction.

The Canadian tenor John Tessier, making his house début, made an extremely personable and youthful Almaviva. If he was rather superficial, this was the production’s idea rather than his own; Rosina is seduced more by the idea of being swept off her feet by a romantic young man than the reality of what life might actually be like afterwards. He showed off his lovely light, easy and secure tone with some stratospheric ornamentation, though conductor Rory Macdonald would have done well to give him a little more space to prevent an occasional stridency and unevenness which crept into some of his fastest runs. He demonstrated a gift for comedy and character acting with both his disguises, and served equally well as an ardent romantic hero when required.

Of the major principals, only Garry Magee’s Figaro disappointed; the eponymous barber needs charisma and charm, and his entrance aria should be filled with unshakeable masculine confidence and panache, but often it felt as though he was just singing the notes.

The_Barber_of_Seville_005.pngJennifer Rhys-Davies (Berta) Anna Grevelius (Rosina) Garry Magee (Figaro) John Tessier (Almaviva) Andrew Shore (Doctor Bartolo) Brindley Sherratt (Don Basilio)

Brindley Sherratt’s oleaginous Don Basilio was a sinister delight, Julian Hubbard’s Fiorello was superbly sung, while Jennifer Rhys-Davies and Peter Kerr offered solid if slightly nondescript support as Berta and Ambrogio.

Two factors put this into a class above what could have been a run-of-the-mill revival of an ENO warhorse. Firstly it would appear that the original director, Jonathan Miller, might have had more of a hand in this revival of his than in any earlier run I can remember; various long-absent details have been restored, while much of the sillier business which the staging has acquired over the years, such as Ambrogio’s constant yawning and Berta’s incurable sneezing, has been mercifully consigned to the dustbin. More to the point, the cast had a real chemistry together, filled the stage with life, and looked and sounded as though they were really enjoying themselves.

Ruth Elleson © 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):