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

Mahler Songs : Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

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.

La Bohème in San Francisco

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.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

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.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

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.

Le Nozze di Figaro — or Sex on the Beach?

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.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

OPERA TODAY ARCHIVES »

Reviews

Matilde di Shabran ROH 2008 [Photo by Catherine Ashmore]
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.

G. Rossini: Matilde di Shabran

Aleksandra Kurzak (Matilde Di Shabran), Juan Diego Florez (Corradino), Mark Beesley (Raimondo), Vesselina Kasarova (Edoardo), Marco Vinco (Aliprando), Alfonso Antoniozzi (Isidoro), Enkelejda Shkosa (Contessa D'Arco), Carlo Lepore (Ginardo), Robert Anthony Gardiner (Egoldo), Bryan Secombe (Rodrigo). The Royal Opera. Carlo Rizzi, conductor.

Above: Aleksandra Kurzak as Matilde di Shabran and Juan Diego Flórez as Corradino [Photo by Catherine Ashmore courtesy of The Royal Opera House]

 

Musically 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.

Matilde_723.pngCarlo 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

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):