Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.



Pietro Mascagni: Zanetto
14 Jan 2009


More than just three letters distinguishes "rarity" from "oddity." In opera, a rarity would be an admired work seldom performed.

Pietro Mascagni: Zanetto

Jennifer Larmore, mezzo; Eilana Lappalainen, soprano; Bohuslav Martinu Philharmonic. Peter Tiboris, conducting.

Elysium Records 727 [CD]

$17.99  Click to buy

Perhaps casting the singers poses problems, or the libretto is weak, or the whole style outdated. The oddity, however, pops up out of nowhere and the general response is, “Why?”

Pietro Mascagni’s Zanetto falls somewhere in between. At only about 40 minutes, the neglect of this work is no mystery. Some of the music is quite attractive, but the story would need some filing in to be called a sketch.

In Florence Sylvia, a courtesan of some years, steps out onto her balcony to sing of her boredom with life and love. A young minstrel stops below and sings a paean to love. Intrigued and attracted, Sylvia descends to chat the youth up; he tells her that he has heard that the beautiful courtesan Sylvia lives nearby. She realizes she has one more chance at love, but the boy’s idealized vision of herself prompts her to tell him to look elsewhere for his Sylvia, and as he wanders off, minstrelling away, she sheds a few tears of amorous regret.

Peter Tiboris, conducting the Bohuslav Martinú Philharmonic, selected a choral version of the prelude Mascagni composed for the opera. Three minutes of wordless beauty, this music promises more riches than the rest of the opera actually provides. The orchestral version of the prelude Mascagni later arranged comes after the opera on the disc. In between, Sylvia, a soprano, and Zanetto, a mezzo pants-role, basically exchange arias for 30 minutes. All of this music is pleasant without being especially memorable. If Zanetto’s music comes off better, probably the credit goes to Jennifer Larmore’s handsome tone and restrained characterization. Unfortunately, soprano Eilana Lappalainen has one of those large, acidic voices that can be entertaining live but that record very poorly indeed. Sylvia’s music suffers as a result.

The disc reaches 50 minutes by including the luscious intermezzo from L’amico Fritz and the umpteenth run-through of that from Cavalleria rusticana.

Perhaps another recording with a more appealing soprano would push Zanetto firmly into the “rarity” column.

Chris Mullins

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):