Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Mark Padmore on festivals, lieder and musical conversations

I have to confess, somewhat sheepishly, at the start of my conversation with Mark Padmore, that I had not previously been aware of the annual music festival held in the small Cotswolds town of Tetbury, which was founded in 2002 and to which Padmore will return later this month to perform a recital of lieder by Schubert and Schumann with pianist Till Fellner.

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Giovanni Simon Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

OPERA TODAY ARCHIVES »

Reviews

Ermanno Wolf-Ferrari:La vedova scaltra
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.

Ermanno Wolf-Ferrari:La vedova scaltra

Rosaura: Anne-Lise Sollied; Milord Runebif: Maurizio Muraro; Monsieur Le Bleau: Emanuele D'Aguanno; Il Conte di Bosco Nero: Mark Milhofer; Don Alvaro di Castiglia: Riccardo Zanellato; Marionette: Elena Rossi; Arlecchino: Alex Esposito; Birif: Claudio Zancopè; Folletto: Luca Favaron; Un servo di Don Alvaro: Antonio Casagrande.

Naxos 2.110234-35 [2DVDs]

$39.99  Click to buy

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.

Wolf-Ferrari_Vedova_CD.gifAs 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

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):