Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

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):