Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

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):