Recently in Reviews
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.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
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.”