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 Reviews

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

OPERA TODAY ARCHIVES »

Reviews

Ramón Vargas (Nemorino) and Inva Mula (Adina) [Photo by Terrence McCarthy courtesy of San Francisco Opera]
09 Nov 2008

L’elisir d’amore in San Francisco

There are remnants of snobbery in San Francisco that are happiest when San Francisco Opera associates itself with the likes of Vienna State Opera and Covent Garden, and left positively frightened at the idea of a production from Opera Colorado/Fort Worth Opera/et al. on the War Memorial Opera House stage.

G. Donizetti: The Elixir of Love

Adina (Inva Mula), Nemorino (Ramón Vargas), Belcore (Giorgio Caoduro), Dulcamara (Alessandro Corbelli), Giannetta (Ji Young Yang). San Francisco Opera. Bruno Campanella, conductor. James Robinson, director.

Above: Ramón Vargas (Nemorino) and Inva Mula (Adina)

All photos by Terrence McCarthy courtesy of San Francisco Opera

 

Our worst fears came true at the opening of L’elisir d’amore when the curtain rose to reveal a bandstand right out of a Kansas farm town sitting center stage, instilling the dread that it was going to sit there all night. It did.

The joke was on us. The singers, looking like they were stepping out of a retro production of Oklahoma, were absolutely dripping with the credits that comfort all opera snobs. In fact you asked yourself how all this high operatic horsepower could find itself in the middle of Republican, mid-western America. But a Mexican tenor, an Albanian soprano, two Italian buffos, even a Korean soubrette stepped right out onto that bandstand and made Oklahoma or Nebraska their own.

Elixir_SFO_068.pngGiorgio Caoduro (Belcore)
It was a perfect fit. This edition of Donizetti’s one hundred seventy five year old opera about rustics in Northern Spain had all the trappings of pre-World War I rural America as envisioned by American stage director Jim Robinson. What we saw was was not the Midwest as illustrated by this scenery for earlier versions of the Robinson production, but a special San Francisco version. In fact it was “Harvest Day” celebration in Napa Valley. Albanian soprano Inva Mula was “Crush Queen,” and we were quickly swept into the wine country flow.

The Elixir of Love (as it was named in San Francisco even though it was sung in Italian and should have been called L’elisir d’amore) is a perfectly constructed little “numbers” opera. The plot is carefully made so that the succession of arias, duets and trios is foremost an opportunity for singers to show their stuff and then coincidentally a means by which to move this nineteenth century sentimental opera buffa story along. All this happened with the utmost ease, the grace of bel canto echoed in the grace by which sight gag after sight gag flowed throughout the evening, footballs sailing in great arches across the back of the stage during the first act finale.

Life was good in those old days, pleasures were simple — apple pies, layer cakes and ice cream sundaes. Bel canto is a downright delicious confection too, so all this went into the same pot. Nemorino and Adina were as interested in ice cream as they were in each other, Belcore devoured an entire apple pie, Dr. Dulcamara picked at leftover tidbits of fried chicken and potato salad from the potluck. And through all of this gourmandaise, Italian conductor Bruno Campanella, another star of bel canto, never missed a beat, keeping the singers in musical rapture from the first note to the last.

Elixir_SFO_134.pngAlessandro Corbelli (Dulcamara)

These were the really old days when even simple country folk could afford (almost) a Napa cabernet. Nemorino, Mexican tenor Ramón Vargas, downed his two bottles and never faltered from consummate Italian tenorial schooling, even while dancing the two step, a tango or the doing the Lindy. Not to mention the consummate charm he exuded while catching a flying piece of apple in his open mouth.

Soprano Inva Mula is no shrinking violet. With her girlish figure and full scale vocalism she easily took center stage as the town diva, relentlessly teasing Nemorino while being swept off her feet (literally) by the irresistible Belcore. The pleasures she brought to the bandstand were as much her fine, rich, very stylish singing as was her warm, natural presence. This Adina was never coy, she was always intensely vocal as a bel canto diva should be.

The role of the lady killer Sargent Belcore was an easy fit for young Italian baritone Giorgio Caoduro, his swagger a natural one, his fluid baritone breaking into Donizetti’s giddy coloratura with utmost ease, communicating an inborn sense of fun, a strong dedication to Italianate high style, and a go-for-broke physicality when he ended up tackled under a pile of his recruits (the high-school football team) or doubled over, punched in the nuts by Nemorino.

Too often San Francisco Opera’s Adler Fellows are thrown into important roles before they are mature enough to take them on. Not so the Gianetta of Ji Young Yang. Here is a charming, finished singer who will soon be an Adina in her own right.

Elixir_SFO_494.pngA scene from Act II

The purple suited shyster Dr. Dulcamara, bass-baritone Alessandro Corbelli, exploited his native Italian to the fullest, every syllable flying across the pit into the house, making his Italian so understandable that it seemed to pass for real American. The lively, inventive San Francisco Opera Chorus that eagerly lined up to buy the elixir seemed as delighted and gullible as was the audience, clearly eating up every nuance of bel canto and Americana. And finally it dawned on Dr. Dulcamara, as Robert Mondavi was just then learning and we all now know, that he had the best elixir around — a Napa cabernet.

It is all to rare that productions by American directors find there way onto major American stages. James Robinson gave San Francisco audiences enjoyment that was specifically American, designer Allen Moyer provided brilliant, minimalist scenery with subtle detail that was as delicious as Donizetti’s coloratura. Yet another American, costume designer Martin Pakledinaz, though no stranger to big-time international opera, gave us costumes worthy of Broadway. Central to the success of this fine production were the supertitles written by Jerry Sherk and Francesca Zambello.

Michael Milenski

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):