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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Reviews

Fabio Biondi
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.

F. J. Haydn: Il Ritorno Di Tobia

Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia. Conductor: Fabio Biondi. Valentina Farcas (Raffaele); Maria Grazia Schiavo (Sara); Ann Hallenberg (Anna); Bernard Richter (Tobia); Johannes Weisser(Tobit). Chorus Master: Filippo Maria Bressan.

Above: Fabio Biondi. Photos by Musacchio & Ianniello.

 

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.

IMG_9050.gif

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.

Giuseppe Pennisi

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):