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

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.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

OPERA TODAY ARCHIVES »

Reviews

Scott Hendricks in the title role of Verdi's Rigoletto [Photo by Felix Sanchez courtesy of Houston Grand Opera]
19 Apr 2009

Shagimuratova steals show in HGO’s Rigoletto

On a stormy evening in Houston (both in and outside of the house), Houston Grand Opera’s opening night production of Verdi’s Rigoletto went off with a thunderous bang.

Giuseppe Verdi: Rigoletto

Scott Hendricks: Rigoletto; Eric Cutler: Duke of Mantua: Albina Shagimuratova: Gilda; Andrea Silvestrelli: Sparafucile; Bradley Garvin: Monterone; Maria Markina: Maddalena; Jamie Barton: Giovanna; Adam Cioffari: Count Ceprano; Octavio Moreno: Marullo; Faith Sherman: Countess Ceprano. Houston Grand Opera Chorus and Orchestra. Patrick Summers, conductor. Lindy Hume, director.

Above: Scott Hendricks in the title role of Verdi's Rigoletto

All photos by Felix Sanchez courtesy of Houston Grand Opera

 

The cast boasted Eric Cutler in his role debut as the Duke, Texan Scott Hendricks as Rigoletto, and Houston favorite Andrea Silvestrelli as Sparafucile. While the men acquitted themselves well, none compared to the performance given by Russian soprano Albina Shagimuratova as Gilda.

Houston patrons know Shagimuratova well, having heard her in previous seasons when she was a member of the company’s young artist program. Her Gilda, however, gave them a chance to see the soprano after her development—and what a development it was. From the first note of her duet with Hendricks, Shagimuratova sent a clear, full lyric voice into the house that spun line after line of legato with remarkable ease. Her “Caro nome”—the best I’ve ever heard—employed perfectly executed trills and just the right amount of ornamentation. Shagimuratova’s clarity was astounding in both the act three quartet and the storm trio, projecting easily over both the orchestra and the strong voices of her colleagues. Her acting was spot on, and she showed more sensitivity to her role than any of the other characters. Albina Shagimuratova’s Gilda was one to remember.

Eric Cutler, in his role debut, gave a solid assumption of the licentious Duke of Mantua. His voice remained the light instrument it was when he first burst onto the international scene, but he managed to add enough heft to his sound to get past the heavier orchestrated sections of Verdi’s score. Cutler seemed most comfortable in the lyrical sections, showing off a strong top in his act one duet with Gilda and later giving a seamless rendition of “Parmi veder le lagrime.” His Duke isn’t perfect yet; the tenor forgot at least two lines and needs to polish up his phrasing, but with time the role could prove strong for him.

Texan Scott Hendricks gave a mixed performance as Rigoletto. The San Antonio native has the range, heft, and legato for the role, but on opening night his vocal clarity too often gave way to an over darkened, muddy sound. His “Cortigiani” showed great pathos, but that was it—you got the feeling from Hendricks’ portrayal that he was simply imposing a romantic portrayal (from other roles in his repertoire, like Silvio or di Luna) on a father-daughter relationship. It didn’t always work, and was sometimes awkward. More work vocally and theatrically could greatly improve his portrayal.

Italian bass Andrea Silvestrelli gave his usual effortlessly powerful performance. In a production that focused on shadows, fog, and darkness, Silvestrelli bounded in and out of sight, showing up at just the right times and portraying the assassin with just enough dark humor. The Italian’s powerful bass boomed throughout the house to great effect but with careful attention not to overpower his colleagues.

Octavio_Moreno_Ericz_Cutler.gifOctavio Moreno (Marullo) and Eric Cutler (Duke of Mantua)

Silvestrelli’s on-stage sister, Russian mezzo Maria Markina, gave a sexually charged depiction of Maddalena. Markina, a member of HGO’s young artist program, had incredible chemistry with Cutler—the act three quartet was one of the highlights of the night, with Cutler and Markina’s interaction bordering on soft porn while Shagimuratova’s Gilda looked on. Markina’s warm voice showed ample size for the Brown Theater; look for her to grow into larger roles with the company over the next few years. Of the supporting roles, Bradley Garvin as Monterone sang particularly well, projecting a large, ringing bass-baritone into the house in the curse scene.

The subtle production focused mainly on colorful backgrounds and timely scene changes. Several period paintings adorned the backdrops while the sets for acts one and two were sparse. The final act brought out a framed set for Sparafucile’s house which served the quartet action well. Director Lindy Hume could have worked with Hendricks a little more on his acting, which wasn’t so much non-existent as it was misguided and confusing at times. Hume provided some clever touches but mostly let the action carry on in a traditional way. Patrick Summers’ conducting was lethargic in the first act but came to life afterwards.

Scott_Hendricks_Albina_Shag.gifScott Hendricks (Rigoletto) and Albina Shagimuratova (Gilda)

If you’re wondering how good a Rigoletto can be without a perfect baritone, you need look no further than HGO’s production—with a soprano as Gilda who gave one of the most complete performances in recent HGO history combined with a solid supporting cast, the company has a sure hit on its hands.

Paul Wooley

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):