Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

OPERA TODAY ARCHIVES »

Reviews

G. Rossini: Il Barbiere di Siviglia
26 Apr 2009

Barbers in Baghdad and Seville

Razor-wielding rascals involve themselves in romantic complications in the two sets considered here, with a fine performance of a rarity and an even finer performance of a classic.

G. Rossini: Il Barbiere di Siviglia

Alceo Galliera, Tito Gobbi, Luigi Alva, Nicola Zaccaria, Philharmonia Orchestra & Chorus, Philharmonia Orchestra, Philharmonia Chorus, Tito Gobbi, Gabriella Carturan, Mario Carlin, Maria Callas, Fritz Ollendorff.

EMI Classics 0094639204151 [2CDs]

$25.99  Click to buy

From the archives of the Cologne Radio — aka, Westdeutscher Rundfunk Köln — Profil has rescued a 1974 performance of Peter Cornelius’s Der Barbier von Bagdad. A protégé of Franz Liszt, Cornelius both benefited and suffered from the great man’s influence. Liszt promoted Cornelius’s work and conducted the premiere of his comic opera in 1858. However, by that point Liszt had already made a fair number of enemies, and they came to hiss down both the conductor and the opera of Cornelius. Only long after Cornelius’s death did his opera find some audiences, although it has never really threatened to enter the standard repertory.

Cornelius_Barbier.gifLothar Brandt, the author of the German program note which J & M Berridge translated into English, takes the interesting tack of arguing that the very old-fashionedness of both Cornelius’s music and the libretto makes Der Barbier von Bagdad “cool.” Cornelius barely makes any effort to introduce any “Oriental” aspects to his pleasant, very conservative score, and the story is a harmless bauble, adapted from The Arabian Nights. Apparently Brandt sees the opera as so “uncool,” it is “cool.” Maybe. It would take a ripping tune or two to make the score more memorable. With no texts provided, judging the success of the work dramatically will elude the non-German speaker. However, most of the scenes seem to have relatively little character interaction, and the comic energy that percolates throughout Rossini’s masterpiece on the “barber” theme raises not a crackle here.

Ferdinand Leitner, seemingly motivated by a sincere love for the music, gives it first-class treatment, along with an excellent cast. Hans Sotin brings comic flair to the title role, and as the requisite young lovers, Helen Donath and Horst R. Laubenthal make a sweet pair. The sound is clean. Profil needs to stop providing track listings only on the back of the jewel cases, a user-unfriendly arrangement.

EMI Classics, meanwhile, reissues in its Great Recordings of the Century series the Callas/Gobbi Il barbiere di Siviglia, conducted by Alceo Galliera. The opera has a rich recording history, but this set is special, mostly thanks to its two stars. Not everyone appreciates Gobbi’s vocal gifts, which can tend to the dry side, but his ability to characterize as he sings is unparalleled. This Figaro works his wiles with cunning charm.

And not everyone always appreciates Maria Callas, either, but here she is everything her besotted admirers claim her to be. The voice is steady, alluring, distinctive. She has full technical control of every aspect of the score. Even her somewhat calculated effects, like the ostentatiously delayed delivery of that “ma” in “Una voce poco fa,” can be tied to the character of Rosina, a young lady far smarter and in control that is sometimes portrayed. Callas easily posses center stage when her solo turns come, and just as importantly, she easily rejoins the ensemble as necessary too. For her alone, the recording earns its “GROTC” label.

Luigi Alva sings sweetly enough, although the arias don’t quite pull together. The tone eerily brings to mind at times today’s leading exponent of Almaviva, Juan Diego Florez.

Conductor Galliera supports the singers to the point of indulgence. The end of act one brings the best of his efforts, with a very theatrical, vivacious reading. Some other spots feel more studio-bound. The remastering is excellent, and EMI provides a very nice booklet, slim and yet with a bilingual text.

So the Cornelius makes for an amiable byway, and the Callas/Gobbi makes a well-trod path fresh again. Go which way you please, reader.

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):