Recently in Reviews
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
19 Nov 2008
Matilde di Shabran at Covent Garden
The rare Rossini opera which brought Juan Diego Flórez to international attention in Pesaro in 1996 was thrown together by the composer at the last minute to meet a deadline in February 1821, with a plot from one source and characters from another, and bits of the score filled in by Pacini.
and structurally, it is unusual; not only does the first act last over two
hours, with a full forty-five minutes before either of the major principals
put in an appearance, but there's barely a solo aria in the piece; the score
consists almost entirely of duets and ensembles. At Covent Garden over a
decade later, the prospect of such an opera (mounted as a star vehicle for
Flórez) was enough to provoke a certain amount of trepidation despite the
house being sold out months in advance.
But the opera's principal message is a familiar one: no man stands a
chance when pitted against a talented and resourceful woman. It's an idea
reminiscent of two of the composer's better-known operas, L'italiana in
Algeri and Il barbiere di Siviglia, and Matilde drives
the point home so unequivocally that rather than feeling formulaic it comes
across at times as a Rossinian self-parody. The characters are
two-dimensional and limited in range, especially Flórez's character, the
tyrannical Corradino whose motiveless misogyny is such that he barricades
himself away from the world to avoid having to deal with women, but who melts
like a lovesick puppy the second he's confronted by the feisty Matilde.
There's plenty of catty business between Matilde and the Contessa d'Arco (the
noblewoman with her own legitimate claim on Corradino), pathos from
Corradino's young prisoner Edoardo and the father who is searching for him,
and a convenient ending made possible by the verbal cunning of an omnipresent
itinerant poet called Isidoro.
As Matilde comprehensively conquers the war-hungry Corradino, so the young
Polish soprano, Aleksandra Kurzak, upstaged the mega-star tenor whose
availability was responsible for the opera's rescue from obscurity. Kurzak
brought an air of confident modernity to Rossini's heroine, with a pert,
confident stage presence and pinpoint accuracy in the fiendish coloratura
which she delivered with a crystalline tone. The flexibility in Flórez's
upper register was as show-stopping as ever, but the small size of his voice
was shown up by the strength of the female leads (not just Kurzak, but
Enkelejda Shkosa as a fiery Contessa d'Arco) and he sounded a little dry at
times. His music just doesn't have the same potential as the women's; he's
not even destined to be the voice that stays in the memory at the end of the
night, as Matilde concludes with a triumphant rondo a show in which Corradino
has had no real solo at all.
Carlo Lepore as Ginardo, Alfonso Antoniozzi as Isidoro and Juan Diego Flórez as Corradino [Photo by Catherine Ashmore courtesy of The Royal Opera House]
In the trouser-role of Edoardo, Vesselina Kasarova was disappointing, her
top register sounding disjointed from the rest of her voice, though it's
always a warm sound, and the reunion with father Raimondo (Mark Beesley) was
very affecting – a serious sub-plot in an opera which is otherwise a
sharp comedy. Alfonso Antoniozzi was endearing as the poet Isidoro, and those
in the minor roles all contributed to a surprisingly well-integrated ensemble
performance considering the opera's hybrid pedigree.
Mario Martone's production was constrained by Sergio Tramonti's austere
set design, consisting of two enormous concentric spiral staircases snaking
up into the flies, and a ramp leading up to an aperture at the back. Though
it gave three dimensions to the movement on stage, it was excessively
limiting, not to mention colourless. It was left to the principal singers to
maintain interest throughout a long evening, a feat which they more than
achieved with snappy assistance from Carlo Rizzi in the pit. But really
– with this classy a vocal cast – it would have worked just as
well as a concert.
Ruth Elleson © 2008