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

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

Wagner: Arias and Love Duets
08 Apr 2009

Domingo sings Wagner

This two-CD budget series collection brings together two Placido Domingo Wagner recitals, the first from 2000, with Deborah Voigt receiving co-billing, and the second from 2002.

Wagner: Arias and Love Duets

Natalie Dessay, Deborah Voigt, Placido Domingo, Violeta Urmana. Royal Opera House Covent Garden Orchestra. Antonio Pappano, conducting.

EMI Classics 3 97683 2 [2CDs]

$12.99  Click to buy

Together, the discs present a picture of what a full Domingo performance of the character Siegfried would be like, as well as offering what turned out to be a preview of Domingo as Tristan (he recorded the complete role a few years later for EMI). Here Voigt as Isolde joins Domingo’s Tristan for the act two love duet, with a wonderful concert ending that allows for the two lovers to finally achieve earthly bliss.

In the act three Siegfried duet, Voigt tends to dominate. She has announced intentions to perform Brünnhilde in the future. It may not be wise to take these performances as a guide to what her stage assumption would be like, as these recordings date back a few years, before her well-publicized surgery to reduce her weight. However, she easily bests Domingo, in an artistic sense, with the full feminine power of her voice in evidence. Domingo’s act three Siegfried is his least impressive singing of the set, giving off a strong sense of the singer with his face in the score, the role not yet fully in his possession.

The Tristan und Isolde selection, however, finds Domingo employing the darker colors of his voice to fine effect. His Tristan is as heroic in his lovemaking as he had proved himself to be on the battlefield. That romantic, arguably Latin tinge to Domingo’s tone works well in this music, although elsewhere a whiff of impersonation can be sensed. As mentioned above, Wagner re-composed the end of the duet for a concert performance, and this alone makes this Domingo/Voigt performance cherishable, as their voices combine ecstatically in the same music that Isolde usually has to her lonesome self at the end of the opera proper.

Disc two presents the acts one and two highlights of Siegfried’s music from the eponymous opera and Götterdämmerung. Domingo roars through a lusty forging aria, and the forest scene also boasts some lovely singing, capturing Siegfried’s wonder. Natalie Dessay “guest stars” as a very twittery Forest Bird. The more tragic Siegfried of the last Ring opera finds Domingo singing handsomely but with the drama somewhat forced, artificial. Violetta Urmana, the Brangäne on disc one, here assumes Brünnhilde, imposingly enough for her brief appearance.

The most consistent strength of both discs comes from Antonio Pappano’s leadership of the Covent Garden orchestra, an exciting blend of precision and drama. Sound is first-class.

EMI offers a note by Peter Branscombe that supplies some summary of the action; it is at least understandable that most people purchasing a set like this already have some familiarity with the material. Overall, a very entertaining set and at EMI’s new price point, quite the bargain.

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):