Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Reviews

Farinelli — Il Castrato
29 Mar 2009

Farinelli — Il Castrato

Naïve re-releases the soundtrack to the film Farinelli here in a handsome “book” casing, appending a second disc of highlights from the discography of Christophe Rousset’s recordings with Les Talens Lyriques, the artists also responsible for the soundtrack.

Farinelli — Il Castrato

Ewa Malas-Godlewska, Derek Lee Ragin, Christophe Rousset, Sandrine Piau, Wieland Kuijken, Agnès Mellon, Carlo Lepore, Maria Bayo. Les Talens Lyriques, Christophe Rousset.

Naïve 5150 [2CDs]

$29.99  Click to buy

This is not, however, the typical film soundtrack of a sort of overture, perhaps a song or two, and various musical cues that don’t convey much out of the context of the film. Disc one consists of eleven complete performances of arias and overtures, from composers as famous as Handel and Pergolese (as the Naive booklet spells it) to the relatively obscure, such as Broschi and Idaspe (a particularly lovely piece, Ombra fedele anch’io).

A brief booklet note titled “Reinventing a castrato’s voice” details the unique feature of this soundtrack: the producers, in conjunction with the Institut de Recherches et Coordination Acoustique Musique, found a way in the studio to meld the voice of a counter-tenor (Derek Lee Ragin) with that of a soprano (Ewa Mallas-Godlewska). The intention was to capture something of what a true castrato sounded like, with an extraordinary range and a timbre that, at least supposedly, retained masculine authority while climbing stratospheric heights. Technically, IRCAM produced a seamless blend; it is not easily apparent when and where the two voices separate or shift primarily to one or the other singer. Nonetheless, there are many moments where Ragin’s counter-tenor, a somewhat reedy instrument, clearly predominates, and others where the feminine sound Mallas-Godlewska produces come to the fore. As an aural experience, then, your reviewer did not find the vocals suggesting any true sense of a castrato sound — with the big caveat that it is not entirely possible to know what that sound might have been, especially in the case of a superstar of his time, as Farinelli was.

The two tracks of arias from Handel’s Rinaldo exemplify the problem of the recording. In music as familiar as “Lascia ch’io pianga” or “Cara sposa,” listeners may well have heard superior versions by singers such as David Daniels or Maria Bayo. The innovation of a recording process that ostensibly captures a castrato sound can’t make up for the fact that the vocal performances captured here just aren’t all that special.

Rousset and his band play immaculately, and listeners who prefer the leaner, tauter sound of historically-informed performances will surely enjoy their efforts. While respecting the musicianship, your reviewer often longed for a richer string sound and more body overall. Somehow, the selections on the second disc, covering many other Rousset and Les Talens Lyrique recordings, didn’t produce the same dissatisfaction. Overtures and other brief instrumental pieces by Lully, Johann Sebastian Bach and his son Carl Philip Emanuel, Purcell, Salieri, and others receive joyous, exuberant performances. Naïve makes its reason for the inclusion of this disc along with the Farinelli soundtrack clear, with the last pages of the booklet dedicated to cover shots of the CDs from which the music was taken.

In your reviewer’s memory, Farinelli was a very entertaining film. If a high-quality DVD of the film were available, that should receive due consideration, as the performances work very well in conjunction with the visuals. But the set does offer handsome packaging and that enjoyable second disc of material.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):