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

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]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

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):