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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
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