Recently in Reviews
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
13 Feb 2009
Donizetti's Don Pasquale from the Ravenna Festival
The CEO of the Ravenna Festival, one Cristina Mazzavillano Muti, understandably takes top billing at the top of this DVD booklet's three - count 'em, 3! - pages of credits for the Festival, not counting the single page of credits for the production of Donizetti's Don Pasquale itself.
Mrs. Muti also gets a respectful if oddly-phrased nod from the production’s director, Andrea De Rosa: “The director thanks to CRISTINA MAZZAVILLANI MUTI [caps from the original] for her continuous and unique carefulness she dedicated to the project.” Wonder what made her carefulness “unique”? Beyond her ability, that is, to snag as conductor one Riccardo Muti.
Filmed for TV at the Teatro di Tradizione Dante Alighieri for the 2006 Ravenna Festival, director Rosa’s Pasquale appears to be set at the time of the opera’s composition, judging by Gabriella Pescucci’s somber formal dress for the men. Set designer Italo Grassi erected wood-paneled doors for entrances and exits; otherwise, the stage backdrop is black cloth. While not high on visual appeal, the drab presentation actually plays well enough, as Don Pasquale’s comedy has always had its troubling aspect, with the title character certainly deserving of some comeuppance but not necessarily the mean-spirited actions of Malatesta and Norina. Pasquale furiously kicks out his nephew Ernesto after the younger man has rejected his uncle’s choice for his bride. Malatesta, ostensibly Pasquale’s friend, concocts a scheme to make Pasquale regret this disinheritance by tricking Pasquale into a marriage with Norina, Ernesto’s true love, who plays along by acting a total shrew. When the trick is exposed and the sham marriage annulled, Pasquale forgives his nephew out of relief.
Donizetti’s charming and tuneful score provides the spoonfuls of sugar to help this somewhat sour comedic medicine go down, and conductor Muti gets sharp, colorful playing from the youthful Orchestra Giovanile Luigi Cherubini. Apart from Claudio Desderi’s Pasquale, a youthful cast fits the generational profile of the characters very well. Malatesta shouldn’t be too much older than his “sister,” Norina, and Mario Cassi looks like a successful young gentleman, very much a more professional cousin to Rossini’s Figaro. Cassi’s smooth baritone provides the show’s best singing. Desderi starts hoarse and never clears up, though he acts well, keeping in balance Pasquale’s ridiculousness and essential humanity.
Francisco Gatell makes a handsome Ernesto, but the voice is undistinctive. As actress, Laura Giordano excels as Norina, here an almost literal spitfire who seems to get almost a sadist’s pleasure out of her part in the scheme. In faster music, Giordano’s instrument does well enough; the rest of the time, she has a pinched tone and a fast vibrato that upsets the melodic line.
Your reviewer gratefully acknowledges that the subtitles introduced an unfamiliar word to him, “temerarious.” The DVD prompts a language selection with the first screen, but that doesn’t turn on the subtitles in the selected language, oddly enough.
So the orchestral playing trumps the singing in terms of quality, and the intimacy of the small theater’s stage helps the drama come across despite the unimpressive physical production. Not a great Don Pasquale, but a decent one, so be sure to “thanks [sic] to CRISTINA MAZZAVILLANI MUTI.”