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Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
26 Apr 2009
Wolf-Ferrari: La vedova scaltra (“The Cunning Widow”).
One of the five operas Ermanno Wolf-Ferrari (1876-1948) based on plays by Carlo Goldoni, La vedova scaltra (1748) is a comedy about a widow’s decision to use deception to choose among her suitors.
With the men representing four countries of Western Europe, England, France, Spain, and Italy, the situation lends itself well to manipulating national elements within this Italian opera which uses, at times, Venetian dialect, that is, the idiom in which the composer was raised. The national element is also a foil for the libretto, which plays upon some cultural jibes in its cynical view of romantic love. Among Wolf-Ferrari’s thirteen operas, La vedova scaltra is not known as well as Il segreto Susanna (1909) or I gioielli della Madonna (1911; rather, it dates from 1931 and is the work he wrote immediately after his Shakespeare-based opera Sly (1927). With its conversational style, La vedova scaltra is not immediately as accessible as some of the composer’s earlier works, but the motives and themes gradually build as the drama itself takes shape and leads to its conclusion. The details contribute to the satisfying - and appropriate - ending of the opera, and this recording makes it possible to appreciate the work in this regard.
This production of the opera, filmed at the Teatro La Fenice, Venice, on 13 and 15 February 2007 under the direction of Davide Mancini, makes use of eighteenth-century costumes and accoutrements to reflect the setting from Goldoni’s play. This gives a familiar sense to Wolf-Ferrari’s work, and this supports the score, which is anchored in conventional tonality, albeit with the kinds of dissonance found in his other operas. More than that, the self-conscious use of operatic convention contributes some post-modern aspects to the work, as does the inclusion of the character of Arlecchino, a servant who acts as an intermediary throughout the drama. The inclusion of this one figure from the traditional *commedia del’arte *pays homage to the theatrical traditional and also brings to mind the depictions of the character in other twentieth operas. Wolf-Ferrari’s is no mere copy of the others, and his Arlecchino stands out in the portrayal by Alex Esposito through his vocal abilities and his sense of physical comedy.
As Rosaura, the cunning widow of the title, Anne-Lise Sollied is vocally solid and dramatically convincing. Appropriate to her character, Sollied shows Rosaura to be aware of the consequences of her romantic choices, and her own concerns for mutual affection and fidelity. Sollied’s fine command of line and ornament is evident in her first, scene, the one in which she discusses marital prospects with her French maid Marionette. The duet with which the scene ends is a good example of the genial interaction with Elena Rossi, who plays the maid with the sensibility one would expect of Despina in Mozart’s Così fan tutte. Rossi shows her own vocal and dramatic skills well in the ensuing duet with Emanuelle D’Aguanno as Monsieur Le Bleu, the French suitor, who just happens to be Marionette’s countryman and thus, the preferred candidate for her mistress’s hand. Rossi is appropriately disarming in the ensemble at the end of the first act, the scene in which the Spanish suitor arrives with his entourage by gondola.
The entire cast works well with each other within the series of ensembles at the core of each act of the opera. The relationship between Rosaura and her maid Marionette resembles, at times, the one between the Countess and Susanna in Mozart’s Le nozze di Figaro. Her engagement in the drama is direct, since she will be affected by the consequences of her mistress’s decision. Likewise, Rosaura is at first overtly equivocal about her prospects, and if it is fidelity which she values, the ruse she concocts to test the lovers is necessary for her to choose. Her Rosaura is an affable spirit, and most of all, sung comfortably and with appropriate style. She works well throughout the opera and is fittingly commanding in the concluding scene.
Among the suitors, the Conte di Bosco Nero whom Rosaura ultimately chooses, is sung well by the British tenor Mark Milhofer. His extended aria in the third scene of Act 2 “Quanta soave pace” is a fine example of his contribution to this production, and his duet with Arlecchino as sung by Esposito shows both men to good effect. As to the other suitors, each brings a distinctive style to his character. While none of the suitors entirely meet Rosaura’s standards at the end of the opera, the same cannot be said of their performances, which contribute to this enjoyable work. Again, this production of La vedova scaltra brings to light an unfamiliar score by Wolf-Ferrari, and while it may never supplant the place of The Jewels of the Madonna *or *The Secret of Susanna, it augments our knowledge of the composer’s music. The comments at the London premiere of Wolf-Ferrari’s earlier opera I quattro rusteghi, another Goldoni adaptation, are apt for La vedova scaltra: “It flows spontaneously; it has a touch of distinction which saves it from the obvious; it is technically modern yet picks up the opera buffa tradition of the eighteenth century with the utmost grace and learning; it has a vein of lyrical melodic and excels in ensemble.”
Naxos makes the performance Wolf-Ferrari’s La vedova scaltra available both on CD (8.660225-26) and on DVD. The sound of the CD serves the work well, and the availability of the opera on DVD preserves the live production which was given at La Fenice - the recording was made before a live audience, and so it conveys a nice sense of spontaneity. The DVD is nicely filmed, with some well-thought close-ups and angles that take advantage of the lighting. On a practical level, the banding of the DVD is similar to that found on the CD and, as such, is useful in finding specific scenes and parts of scenes within each act. This helps to make the relatively unfamiliar score of La vedova scaltra more accessible to those who want to return to specific parts of the work. It is good to see the efforts of Naxos in presenting this opera so sensibly.
James L. Zychowicz