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Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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.”