14 May 2009
L’elisir d’amore at Covent Garden
L’elisir d’amore is perhaps Donizetti’s silliest opera — but also one of his most charming.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
L’elisir d’amore is perhaps Donizetti’s silliest opera — but also one of his most charming.
Laurent Pelly’s 2006 staging, first seen at Covent Garden in 2007 and revived here by Daniel Dooner, certainly supplies much absurdity, capriciousness and inanity, but it is rather lacking in genuine warmth and tenderness. In this ‘busy’ staging, characters are entertaining but not fully engaging; we smile gently at their follies and witticisms, but they don’t truly touch our hearts. We don’t really care; and, it seems, neither do they. The humour is largely visual: indeed, on the opening night the largest laughs were raised by the manic terrier which intermittently whips across the stage, and by the between-scenes front cloth advertising Doctor Dulcamara’s entire range of miraculous potions and lotions - the clutter of cures for Constipazione and Impotenze recalling an email inbox, deluged by SPAM offering fake Viagra.
Striving for a realism that would put many a verismo production to shame, Pelly furnishes his stage with a relentless assemblage of period props — tractors, lorries and Vespas — to evoke rural, post-war Italy. The curtain rises on a precipitous mound of hay-bales. It’s true that this Nemorino — a foolish bumpkin — certainly has a mountain to climb if he’s to win the hand of Diana Damrau’s feisty, spoiled Adina. While the workers toil in the sun-drenched fields, the queen bee perches aloft, preening herself beneath her pink parasol, laughing disdainfully at tales of ‘real’, un-dying love of the kind that will later catch her unawares.
No-one could accuse Giuseppe Filianoti of lack of commitment: as Nemorino he, literally, throws himself into the part, hurling himself around the stage like a hyperactive child, tumbling and flailing in a hopeless effort to catch the eye of the indifferent Adina. When Dulcamara declares that he met a few fools in his time but none quite as dim as Nemorino we are inclined to nod in agreement. While this self-deprecating slapstick raised a few chuckles, it did not distract from Filianoti’s vocal weaknesses. His is a dark-toned tenor, but the upper range is strained and reedy, and his opening number was particularly uncomfortable. In the Act 1 finale he seemed completely adrift, musically and dramatically. Despite these problems, there were moments to admire. Filianoti’s diction is excellent, he uses the words well, and his performance did improve as he slowly warmed up. He certainly conveyed Nemorino’s ardency and sincerity in the Act 2 ‘Una furtiva lagrima’. Yet, it was rather an effort, and the simple elegance required to communicate the profound, ‘poetic’ sensibility to be found beneath the buffoon’s clownish exterior was lacking.
As Adina, the German soprano, Diana Damrau, commands the stage. Dressed in a seductively low-cut dress (costumes are by Chantal Thomas), she flirts and flaunts, incessantly prancing, posing and pouting. However, while she entirely lacks innocence and does not really earn our sympathy, she can be forgiven for these exaggerated excesses as she renders Donizetti’s lyrical melodies and capricious coloratura with delicious beauty and ease. Outraged by the attention that Nemorino’s new-found wealth garners from the other girls, Damrau’s fiery fioratura is flawless. And, her declaration of love - a stunning two-octave plunge sealing her promise to make him ‘as happy as I used to make you miserable’ - is the high-point of the evening.Simone Alaimo as Dulcamara and The Royal Opera Chorus [Photo by Johan Persson courtesy of The Royal Opera House]
The Sicilian bass-baritone, Simone Alaimo, played Dulcamara as if this was his five-thousandth performance of the role … perhaps it was. His buffo gestures were rather tired; even the chorus, who excitedly anticipated his entrance, didn’t wait around to hear his sales pitch — leaving Alaimo addressing an empty stage. A sharp, red suit in Act 2 enlivened him somewhat; responding to Adina’s confident assertions that the power of her own physical attributes is more than a match for any elixir Dulcamara cares to offer, he demonstrated more energy and sparkle. But, Pelly seems to view the quack doctor less as a loveable rogue than as a greasy slime-ball. Like Anthony Michaels-Moore’s cock-sure Sergeant Belcore, he is presented as a cynical opportunist. In Belcore’s opening aria, despite standing aloft the hay-bales, a ‘king of the mountain’, Michaels-Moore struggled to project his baritone; he was a rather one-dimensional figure throughout, a charmless bully. The Japanese soprano, Eri Nakamura, supplied the evening’s one genuine moment of sweet, unaffected tenderness, as Giannetta.
Pelly’s direction of the chorus is confusing and over-emphatic. At times, they are uncompromisingly involved in the action, was in the opening scene when they taunt and torment Nemorino with an alarming aggression! Elsewhere they ignore the action entirely, and face forwards, immobile, to address the audience — a gesture which lacks subtlety, relevance and becomes increasingly irritating.A scene from L’elisir d’amore [Photo by Johan Persson courtesy of The Royal Opera House]
Despite Pelly’s desire for realism, this production does not truly convey the dark side of the drama - the potential sadness, even tragedy, hiding behind the comic frills, or the cynical exposure of the true elixir of love: money. Fortunately, Bruno Campanella understands the aesthetics of bel canto, and he stylishly controlled the colour and pace of the performance from the pit.
So, in this visually catchy production there is lots to entertain and much to admire, but perhaps rather less to enchant.