25 Feb 2009
Rigoletto at the MET
The Plague of Beautiful Sounds: Has Bel Canto gone too far?
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.
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