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

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Saint Louis Butterfly Soars

Opera Theatre of Saint Louis knew to trust the surefire potential of Madame Butterfly, and pretty much stayed out of its way.

Saint Louis: Gordon’s Revised Grapes

If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis.

Titus Lightens Up in Saint Louis

Mozart’s opera seria, La Clemenza di Tito, performed in English at Opera Theatre of Saint Louis did something I did not think possible.

Il turco in Italia: Garsington Opera

Martin Duncan's production of Rossini's Il turco in Italia debuted in 2011, only the second production to be performed in Garsington Opera's then new home at Wormsley. Revived for the first time on 25 June 2017, David Parry was again conducting with Quirijn de Lang as Selim, Geoffrey Dolton as Don Geronio and Mark Stone as Prosdocimo returning to their roles, plus Sarah Tynan as Fiorilla, Katie Bray as Zaide, Luciano Botelho as Narciso and Jack Swanson as Albazar. Designs were by Francis O'Connor, with lighting by Mark Jonathan and movement by Nick Winston.

Glyndebourne's wartime Ariadne auf Naxos

It’s country-house opera season, and Glyndebourne have decided it’s time for a return of Katharina Thoma’s country-house-set Ariadne auf Naxos, first seen in 2013. Thoma locates Strauss’s opera-about-opera in a 1940s manor house which has been sequestered as a military hospital, neatly alluding to Glyndebourne’s own history when it transformed itself into a centre for evacuees from east London and the Christie children’s nursery became a sick bay.

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

OPERA TODAY ARCHIVES »

Reviews

A scene from Die tote Stadt, Palermo [Photo by Michele Crosera]
19 Apr 2009

Die tote Stadt: The Dead City Livens Up Palermo

Erich Wolfgang Korngold’s music drama Die tote Stadt has had a rather erratic life in major opera houses.

Erich Wolfgang Korngold: Die tote Stadt

Paul: John Treleaven; Marietta / Marie: Nicola Beller Carbone; Frank: Christopher Robertson; Brigitte: Tiziana Tramonti; Juliette: Mina Yamazaki; Lucienne: Julia Oesch; Fritz: Franco Pomponi; Counte Albert: Federico Lepre. Orchestra, Coro e Coro di voci bianche del Teatro Massimo. Will Humburg, Pierluigi Pizzi, director.

Above: A scene from Die tote Stadt, Palermo [Photo by Michele Crosera]

 

The author was an “enfant prodige” when at the age of 23 , and with already two successful operas on his back, Die tote Stadt ( “The Dead City”) had the privilege of simultaneous premières in Hamburg and Cologne. It had been turned down by Vienna mainly because of a rift between Gustav Mahler (then, at the helm of the Staatsoper) and Korngold’s father, Julius, a well known (and very strong minded) music reviewer as well as co-author (with his son) of the terse libretto. The success was enormous. Also in Vienna, where it was staged a few months later.

Even before the first staging, Giacomo Puccini was so shocked by a piano performance by “young Erich Wolfgang” that, according to hearsay in many of his biographies, stopped composing the final part of Turandot. In the 1920s, Die tote Stadt was applauded in all main European opera houses. At the advent of Nazism, Korngold emigrated to the U.S. where he spent most of his life between New York and Los Angeles. He became a well known author of film music, winning no less than two Oscar Prizes.

After a long period of silence, Die tote Stadt found a new lease on life in the mid-1970s, with successful and almost parallel, albeit very different productions, in New York (at the City Opera) and in Munich. I loved the City Opera production when I was living in Washington; the music drama was being toured in the USA. It appeared quite frequently until the mid-1980s. Then a new phase of relative oblivion; it re-emerged in the late 1990 at the Spoleto Festival and in 2004 at the Salzburg Festival. The Salzburg production, staged by Willy Decker, had standing ovation; since then, it is in the repertory of the Vienna Staatsoper and has been seen in Barcelona, Madrid and several other major theaters; last February was in London at the RHO. In Italy, Die tote Stadt had his premère in Catania in 1996, was in Spoleto in 1998 and is now in Venice and Palermo in a new sparkling production — quite different from Decker’s.

The plot is base on a decadent late 19th century novel by the symbolistic writer and poet Georges Rodendach — also the basis, as a play, for a major box-office hit It revolves around the obsessions of young widower, Paul; madly in love for his past wife Marie. He thinks that she revives in a sexy dancer, Mariette, visiting Bruges (“the dead city”) to perform in the local opera house. To come to grip with his obsessive day-dreams, Paul has to kill Mariette and leave Bruges forever. The score includes a broad cross-section of all what was in vogue in Central Europe in the years around the First World War. It has reminisces from Wagner and Strauss but especially the opulence of Schreker. The listener can feel that Zemlisky was Korngold’s teacher, not only Schönberg. The complex vocal and orchestral score leaves also room to two set pieces — Mariette’s Lute Song and Pierrot’s Dance Song — easy to listen and frequently requested in German radio programs.

_DSC5390.gifA scene from Die tote Stadt [Photo by Michele Crosera]

The Palermo and Venice joint productions — two of the rare financially sound Italian opera houses — features a fascinating staging by Pier Luigi Pizzi. With a skillful use of mirrors and lighting, we are enthralled in a deadly atmosphere: Paul’s house opens on a decaying city in a dark swamp of stagnant water. The details are carefully described in James Sohre’s review of the Venice production published in Opera Today on 8 March. In Palermo, though, there is a different cast. The conductor Will Humburg digs into the score to show its modern approach as well the “virtuoso” efforts requested to some orchestra soloist. Very taxing the role of the protagonist, Paul, always on stage with a heldentenor pitch; John Trelaven is up to the required standard; in my opinion, a better fit than Stefan Vinke in Venice . Nicole Beller Carbone is an erotic Mariette, both vocally and dramatically. Good all the others.

The Palermo audience is gradually getting adjusted to more innovative opera seasons than those of the past and applauded warmly the April 16th opening night of Die tote Stadt in their beloved Teatro Massimo.

Giuseppe Pennisi

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):