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Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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