25 Feb 2009
Rigoletto at the MET
The Plague of Beautiful Sounds: Has Bel Canto gone too far?
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.
The Plague of Beautiful Sounds: Has Bel Canto gone too far?
The term Bel Canto, historically associated with operatic singing, is essentially easy to define; however, as of late it has come to represent something other than its initial connotation. “Beautiful Singing,” is not simply the manifestation of a beautiful sound, but an actual aesthetic singing method that has been passed along from its early masters to those singers who choose to execute it. But, have we become obsessed with the “beautiful sound” rather than the aesthetic concept of Bel Canto? Is making beautiful sounds enough to ensure the verisimilitude of Opera?
On February 4th , the performance of Rigoletto at the Metropolitan Opera began with an announcement that on the eve prior Italian tenor, Giuseppe Filianoti, had spontaneously filled in for Mr. Rolando Villazón in the role of Edgardo in Lucia di Lammermoor, opposite Anna Netrebko. A significant feat for any well-seasoned professional, the announcement that Filianoti would sing back-to-back performances and continue with his scheduled performance as the Duke in Rigoletto was met with much applause.
Giuseppe Filianoti as the Duke
Debuting with Rigoletto, young Italian conductor Riccardo Frizza handled the Metropolitan Orchestra well, if perhaps lacking some of the necessary vibrancy required of Verdi’s scoring. At times, the tempi were held much too strictly and were devoid of rubato, that when used tastefully in middle-period Verdi can assist singers in carrying out pure Bel Canto singing. While tentative at first, Maestro Frizza settled into a more dramatically charged orchestral character by Act III. The swells in the storm scene, however, could have been more substantial, especially in a scene where Verdi employs the use of the human voice as a natural device, the howling wind of the storm. Chorus Master, Donald Palumbo was magnificent in his direction of this chorus that was the foundational support of the production.
George Gagnidze (Rigoletto)
Georgian Baritone, George Gagnidze, whose singing was the most accurate, aesthetically pleasing, and dramatic was promising in his portrayal of Verdi’s hunchback. His Rigoletto was both pathetic and sometimes sinister in his vendetta. In scenes his with Gilda, portrayed by Polish Soprano, Aleksandra Kurzak, the dramatic effectiveness of his singing faltered and several scenes became stagnant, if not all sounding the same. Gagndize began to tread the line between reality and the other in Act III, with his most dramatic singing and acting at the point when Gilda is discovered in the sack. A lovely, baritone with colore brucciato, Gagnidze carried the brunt of this production on the merits of his talent.
Soprano, Aleksandra Kurzak possessed a beautiful, clear voice, if not too clear for Verdi. Because Gilda is young, she is often portrayed by a coloratura lirica; historically however, Verdi’s orchestral palate and the dramatic penchant of his writing would require a fuller voice that is capable of high tessitura and yet broad enough in the middle registers to mesh with the orchestral thickness of Verdi’s middle-period writing. Ms. Kurzak’s voice was even soubrette-like and much too light in contrast to Filianoti’s full dramatic tenor and Gagnidze’s burnished Baritone. Her Caro Nome left much to be desired. Unfortunately, Maestro Frizza was not helpful; almost painfully strict, he did not allow any semblance of stretching, rubato, or colorito. In fact, it resembled early Mozart more than a middle-period work of Verdi. If a voice of this type were to sing Gilda, it would be to implement the bell-like quality of the notes in the higher tessitura; however, Ms. Kurzak lacked squillo in her upper range, presenting her with difficulty in the final fioriture of Gilda’s cadenza. Unfortuantely, she also lacked fullness in her middle register, a likely cause why Mr. Gagdnize’s scenes with her affected his own vocal colour. While producing some lovely sounds throughout, dramatically Ms. Kurzak failed to add any electricity to this production.A scene from Rigoletto with Giuseppe Filianoti as the Duke, Viktoria Vizin as Maddalena, Aleksandra Kurzak as Gilda and Roberto Frontali in the title role of Rigoletto.
Mezzo-Soprano, Viktoria Vizin, was highly effective as Maddalena, exuding just the right amount of sultriness. She was dramatic and illuminated the stage perhaps more than her colleagues, and possesses a rich mezzo that is well suited to the Verdian palate.
While the majesty of the Met always remains, this production was not one of its most memorable. A young cast of promising talent is always exciting, however the shift in aesthetic understanding is equally noticeable. What would a Rigoletto have been like 40 years ago or even in 1851? Historically speaking, opera is an art of old and its aesthetic properties, even if set modernly by present-day artists, should remain as they were intended. Verdi’s hunchback is perhaps the character to whom he related the most for a number of reasons; yet, this production lacked the dramatic penchant that even one glance at the score makes blatantly evident.
“Careful,” might seem the word of the day. Taking the risk of making an audience believe that what is occurring on that stage is a reality in the midst of a larger one is becoming more and more sparse. Swallowed by the need to make a “beautiful sound,” the risk of dramatic intensity is flickering. Is removing the portamenti that are essential to Bel Canto, and singing strictly on the beat the way to create drama or remain historically accurate to Verdi’s aesthetic? If we continue to cater to the “beautiful sound” alone, the art of opera cannot remain true to its historical ancestry. It would be the desire of any spectator to hear a few sounds that were not as beautiful, at the behest of dramatic efficacy.
Mary-Lou Patricia Vetere © 2009