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

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

OPERA TODAY ARCHIVES »

Reviews

Pietro Mascagni
26 Apr 2009

Il Piccolo Marat

Try to imagine the scenario: You’re an opera company, giving concert performances of neglected, indeed forgotten, hundred-year-old scores (no sets, no costumes, at least you don’t have those headaches), and you give young singers a chance to do their stuff once a year before a paying New York crowd actually eager to hear music they do not know, and you’ve lit on a genuine obscurity, even in the ranks of the obscure; Mascagni’s penultimate stage work, a huge success at the premiere (as his operas usually were), utterly forgotten nowadays (as, but for Cavalleria Rusticana and, on rare occasion, L’Amico Fritz, they pretty much are), and it’s never been performed in North America ever.

Pietro Mascagni: Il Piccolo Marat

Il Piccolo Marat: Richard Crawley; L’Orco: Brian Jauhiainen; Mariella: Paula Delligatti; Il Carpentiere: Daniel Ihn-Kyu Lee; Il Soldato: Joshua Benaim; Una voce basso: Alfred Barclift; Una voce tenore: Hugo Vera. Teatro Gratticielo Orchestra, conducted by David Wroe. Teatro Gratticielo at Avery Fisher Hall, April 13.

 

Recordings of ancient performances exist, though, and everyone is really excited to hear it, with its blood-and-skullduggery-defeated-by-true-love French Revolutionary plot, and you gather your forces, and rehearse to a fare-thee-well, and then it happens: the lead tenor in the big title role withdraws due to a death in the family. Okay, hardly the first time that’s happened, there’s still two weeks, you can dig up another tenor, and you do. But then the baritone in the impossibly evil villain’s part (and in verismo opera, it’s the villain who makes the machine run, more than almost anything else), falls ill and cannot sing, and you have mere days to find a baritone capable of learning a long role, to say nothing of performing it Monday night. And you find one, and he can handle Scarpia, so he can probably handle this. And then, the day of the performance, the third male lead, another baritone, has to pull out … and there is no time for anyone to learn this thing now, and no one on earth knows it … but a young singer of no less than three other small roles says he’s been following the sick man’s music and he could give it the old Bastille try. And you give it to him, and smile when the audience shows up, and out of the corner of your mind, the sole corner that remains sane, you vow to rip the soprano’s head off if she so much as murmurs of her rampaging case of bubonic plague, but no, she is a lamb, she is in excellent health and ready to rock, and by all the Muses (but especially Thalia, comedy), the show goes on.

Would you have a stroke? Would you retire? Would you call Mel Brooks or Blake Edwards and try to get them to option this backstage screenplay, far too unlikely to occur in real life? Or maybe a skit on SNL?

And would the show go on?

On April 13, at Avery Fisher Hall, the show – Teatro Gratticielo’s concert performance of Mascagni’s Il Piccolo Marat – went on, and was greeted, at evening’s end, with a standing ovation.

The world premiere, in 1921, took fifty curtain calls. Why, then, did Marat become so rare? I’m told the Grove Dictionary of the Opera blames its failure to hold audiences on its Fascist librettist. This does not make sense when reading (and following) the libretto, which is as passionate a hymn to freedom from tyranny as Fidelio or Tosca. Too, there is a rather beautiful love duet, a melodious lullaby that recalls the peaceful Easter music of Cavalleria Rusticana, and a tense climax that lures the audience into the emotions of the three “good” characters as, desperately, they assault the unkillable Ogre (English for Orco, the character’s nickname – so that’s where Tolkien found the word!).

As is customary in verismo, a school that matured as the bourgeoisie seized political power and its echo in the arts from aristocratic predecessors, the chorus is a main character in this opera, easily swayed and ruthless in its bloodthirsty support of hero or villain by turns. The Cantori New York and the Long Island University Chorus howled gloriously under the direction of Mark Shapiro; we were right at home, ringside to mob rule.

As is also the rule in operas about the French Revolution (think Andrea Chenier or Madame Sans-Gêne), there were innumerable small parts – which proved convenient when one singer of three of them, Daniel Ihn-Kyu Lee, earned a needed promotion to the almost-lead role of the gentle Carpenter, not too sensitive to design death ships but queasy when the Ogre wants him to build them. Joshua Benaim was worthy and forthright as a Soldier sent to investigate the Ogre – a by no means easy role, designed for a Pertile or Del Monaco sound, to give heroic voice to the Revolution during the opera’s early scenes, when the title character, the Piccolo Marat, must conceal his real feelings to win the Ogre’s confidence. Alfred Barclift and Hugo Vera showed promise onstage playing offstage voices. (Versatility is the name of this game.)

Richard Crawley, in the title role, effectively concealed his noble self and warmed up the while in order to sing a passionate duet with Paula Delligatti, as Mariella, the Ogre’s unhappy niece, and then burst out like a Cavaradossi “Vittoria” when the time came. Brian Jauhiainen was less overwhelming as the monstrous Ogre. Neither gentleman indicated, however, by any hesitancy or misstep, how recently they had first encountered this music: these were trim, professional performances and we were all very grateful to have them. Delligatti has an expressive spinto, perhaps less than ideal to the explosions of a Butterfly or Tosca but probably ideal for Liú or Maddalena. Her lullaby, perhaps the opera’s only excerptable number (another reason for the work’s obscurity), was serene and charming.

Conductor David Wroe, who perhaps rehearsed with the singers who cancelled, rather bashed his way through the score. It’s a large score, all right, and the music should be loud, but not holding back in a hall as orchestrally focused as Fisher is a disservice to the singers, who were often inaudible at the opera’s high points.

John Yohalem

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):