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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
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