Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Reviews

Rimsky-Korsakov by Valentin Aleksandrovich Serov
02 Nov 2008

The Tsar’s Bride by OONY

What opera contains a terrific overture, a wedding sextet, two murderous magical potions, a mad scene for coloratura soprano, a magnificent a cappella aria for contralto, dozens of glorious melodies and lots of nifty choral writing?

Nikolay Andreyevich Rimsky-Korsakov: The Tsar’s Bride [Tsarskaya nevesta].

Marfa (Olga Makarina), Lyubasha (Olga Borodina), Lykov (Yeghishe Manucharyan). Bomelii (John Easterlin). Gryaznoi (Alexey Markov), Sobakin (Christophoros Stamboglis). Opera Orchestra of New York conducted by Eve Queler; performance of October 15.

Above: Rimsky-Korsakov by Valentin Aleksandrovich Serov

 

If you read the heading of this review, you already know the answer: Nikolai Rimsky-Korsakov’s Tsar’s Bride – one of the most popular operas throughout Russia, but downright obscure in the West – it has never been staged in New York (to my knowledge), despite a huge Russian community who would eat it up and a dozen visits over the years from three or four of Russia’s leading opera companies wasting our time with Mlada or Macbeth or far too many Onegins.

Rimsky-Korsakov was in an Italianate mood when he composed Tsar’s Bride, with its feast of plot complications and consequent musical situations: licentious boyar Grisha Gryaznoi (heroic baritone) lusts for Marfa (coloratura soprano), though she is about to wed her truelove Lykov (romantic tenor). Grisha persuades the tsar’s sinister German alchemist, Bomelii (character tenor), to concoct a potion that will make Marfa fall for best man Grisha instead. Complication one: Grisha’s jealous mistress Lyubasha (dynamite Slavic mezzo) switches the potion with another one, intended to destroy Marfa’s good looks – never mind how Lyubasha got the sleazy alchemist to run it up for her (think: Tosca). Complication two: Just as Marfa drinks the potion on her wedding day, news arrives that the tsar, Ivan the Terrible no less (sinister offstage presence), has chosen Marfa as his bride! Too, the potion – what was in it? – turns out to be poison that drives her lyrically insane. At curtain’s fall, everyone is either miserable or dead except the tsar, who remains off stage, singing (we may imagine), “Next!” (Ivan married more wives than Henry VIII. He once proposed to Henry’s daughter, Elizabeth.)

Bride is, thus, one of those operas (like Don Carlos or Don Giovanni or L’Africaine) where no single character grabs our attention all night; we are involved with the dilemmas and desires of many, and follow them through to a general catastrophe. One reason the opera may be rare over here may be the sheer number of great voices who are required to sing beautiful arias and ensembles in the true, flavorful Russian manner. Lyubasha calls for a grand low-voiced lady, with a voice from the vaults of the earth; it has long been a signature role for Borodina, and she graciously returned to sing it with Queler a second time. Marfa’s father, Sobakin, is a Russian bass from the old church-trained tradition, like Boris or Prince Igor or Prince Gremin. Marfa herself is an all-stops-out coloratura, whose lovely final scene is one of Rimsky’s handsomest tunes. And first and last there is the devilish Grisha Gryaznoi, whose outward brashness conceals inner torment, selfishness, crime and, finally, a (very Russian) orgy of guilt. Half a dozen minor roles have major parts to sing in solos and ensembles.

The problem is that it’s hard to bring in a worthy performance (and O.O.N.Y.’s was a very worthy performance) unless you have dozens of great Russian singers at your disposal – but that doesn’t prevent anyone in the West from staging Boris Godunov or even the far less theatrically promising Khovanshchina or Prince Igor – all three of which, by the way, might never have captured the stage at all had it not been for Rimsky-Korsakov’s now discredited editing.

Happily, Eve Queler and her Opera Orchestra of New York threw caution to the winds and brought this wonderful piece back to Carnegie Hall for the first New York hearing in twenty years. Olga Borodina, new in town at that previous performance, is now a grande dame and local favorite, but she retains the plummy low notes that make Lyubasha appealing, her disastrous passions touching. Borodina is one of the rare Russian singers (her husband, Ildar Abdrazakov, is another) who has no trouble singing Italian music idiomatically, without the voiced vowels and Slavic curlicues that make so many Russian opera singers a little risible in western song, but back in her native element there seem to be depths of tragic character lurking in the rounded shadows of her singing.

Alexey Markov made an exciting impression chewing up the stage as the narcissistic Grisha. He is a fine singing actor, with a plush, endearing baritone – and it is necessary that this character make himself a lovable scamp in the great narrations of the first act or his hideous behavior for the rest of the evening will only depress you. Yeghishe Manucharyan sang ardently and deft phrasing as Marfa’s hapless true love, but John Easterlin nearly stole the tenor honors with a Bomelii at once forceful and melodramatically harsh. You did not need a libretto to know which of these men was the lover and which the villain, and Easterlin made a villain it was a delight to hiss. Christophoros Stamboglis, as Marfa’s understandably confused father, had a good time with one of those stirring, from-the-depths-of-the-Russian-earth bass arias – only the last, very lowest note eluded him. There were many excellent young singers in minor but important roles (housekeeper, sister, mother – impossible to tell them apart as the electric titles often broke down and there was no printed libretto), and such poignant bits of music-making as the lovely wedding sextet (the last happy moment before the potion is drunk and Tsar Ivan’s messenger arrives) were revels in the bosom of vocal art.

John Yohalem

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):