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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 May 2009
Haydn’s “Il Ritorno Di Tobia” , Oratorio Or Opera Seria?
Joseph Haydn's place in the history of the oratorio has been secured by his masterpieces The Creation (1798) and The Seasons (1801). His first appearance, however, on the Mount Parnassus of oratorio was a good quarter of a century beforehand with Il ritorno di Tobia.
Recently performed at the Accademia di Santa Cecilia in Rome (May 16-19) with an all star cast as a part of the celebration for the bicentenary of Haydn’s death. It is also the indication of revival of a nearly forgotten masterpiece: a few months ago Il ritorno di Tobia had been performed in London and Poissy under the baton of Sir Roger Norrington.
Il ritorno di Tobia had had a promising start: in April 1775 Haydn directed the first two performances of his work, written for the Vienna Tonkünstler-Societät. This success was no mere accident: Haydn had tailored his first oratorio as much as possible to suit Viennese taste. At this time Vienna was, to a certain extent, the bastion of the Italian oratorio north of the Alps. An Italian libretto was therefore indispensable, and for his subject matter, Haydn had chosen an exceptionally popular story: in the XVIII century, the Old Testament Book of Tobias was found everywhere, in painting, sculpture, literature and music; in Vienna alone it had been set to music dozens of times. Oratorios were performed in theatres because , during Lent, opera performances were forbidden; from the Playbills of the time we know that tickets for Il ritorno di Tobia were as high as those for a major opera seria performance. There was also some politics: the main theme of Il ritorno is conjugal love and parenthood; this would fit very well Empress Marie Thérèse’s view of the world- a world then rapidly changing , only a few years from Così fan tutte wives’ swapping and Marquis de Sade’s novels.
Within a short space of time copies of the score were circulating throughout Europe and Haydn himself counted the work among his most successful. It is also no surprise, however, that as early as 1781 a planned repeat performance in Vienna failed owing to the subsequent change in public taste; and besides this, as it took almost three hours to perform, the work was considered simply too long. Haydn, , was after all an experienced man of the theatre who had earned his stripes at the Esterházys’ opera house, and as such was perfectly capable of tackling the reworking of his Tobia in view of its difficulties. The parts of the Tonkünstler-Societät and Haydn’s autograph testify to this in a variety of ways: Haydn himself made alterations in a number of places in his score to passages of secco recitative, which, being accompanied only by the continuo instrument, allow the singer greater freedom in which to be creative. On the other hand, the orchestral material contains cuts in much of the extravagant coloratura, and also the repeated sections in the arias. Not only did this bring about the shortening of the work deemed necessary, it also reduced the technical demands of the arias significantly, and so made the rôles easier to cast. It is no longer possible to reconstruct beyond doubt when exactly and for which performance these alterations were made.
Even if the action is not set directly scene by scene, Il ritorno di Tobia still provides moments of striking theatricality. In matters of text setting, the Italianate oratorio of the XVIII century followed the opera seria closely: this begins with the sequence of recitatives and arias and continues with the ways in which these formal elements are given shape. The recitative is characterized from the outset by dialogue and the dramatic structure imposed by the characters’ immediate reactions to one other. This is not even altered by the fact that repeated events already bygone are brought back to life in the recitatives.
Haydn takes the opera as his model not only for the dialogical texture but also for the aria’s structure. Unlike the opera seria of the time, in which the involvement of the chorus is reserved for particularly festive types such as the Festa teatrale, in the Italianate oratorio both parts traditionally concluded with a chorus; usually the choir also played a part in the opening scene. Besides this, the inclusion of contrapuntal techniques is typical of oratorio. The basic question is still unanswered: it is an oratorio or a grand opera seria?
After performances in Vienna at the Kärtnertortheater in 1775 and in 1784 at the Hofburgtheater, where it was heard again in 1808 , Il ritorno di Tobia faded away until very recently. There only a couple of recording available - and not very easy to find and purchase.
Santa Cecilia’s lavish production is to be considered an Italian premiere. The symphony orchestra was superbly conducted by Flavio Biondi, the creator and leader of the Europa Galante ensemble. To borrow from Giuseppe Verdi one of his favorite quote Biondi “made the orchestra dance” . A few cuts were made in the very long score; I attended the Monday subscription performance starting at 9 pm. Even after the cut, the work, unknown to most of the audience, appeared too to some; at end (well after midnight) only half of the large auditorium (2800 seats) was full but those who sat through the end gave a generous applause to the orchestra, the chorus and the soloist.
The chorus deserves a special mention. There important and very difficult choral sections in Il ritorno di Tobia. They require considerable skills; conducted by Filipp Maria Bessan, the Santa Cecilia Chorus had a warm deserved applause.
Somewhat uneven the soloist cast. Maria Grazia Schiavo was an excellent Sara and gained an open stage applause after her long second act arias where her acute reached very high heights. An Allenberg is a alto specializing in baroque and XVIII century music; she was a very motherly Anne descending to very grave tonalities. Bernard Richter , Tobia,is a lyric tenor: he braved out a role requiring to climb very steep acute mountains. Less satisfactory Johannes Weisser , Tobit , and Valentina Farcas, Raffaele.