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

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.

Debussy: Pelléas et Mélisande

So this was it, the Pelléas which had apparently repelled critics and other members of the audience on the opening night. Perhaps that had been exaggeration; I avoided reading anything substantive — and still have yet to do so.

OPERA TODAY ARCHIVES »

Reviews

Erwin Schott [Photo by Riccardo Musacchio and Flavio Ianniello]
12 May 2009

Verdi and Boito at the Rome Academy of Santa Cecilia — Angels and Demons in an Unusual Setting

By sheer coincidence, the Academy of Santa Cecilia — one of the most authoritative symphonic orchestras in Europe — planned a rather unusual concert in the same days (May 3-7) when just in the very same auditorium there was the world première of a movie expected to be a Hollywood blockbuster — the thriller titled “Angels & Demons”.

Ludwìg van Beethoven: Symphony n. 1; Giuseppe Verdi: Te Deum; Arrigo Boito: Mefistofele Prologo in Cielo

Erwin Schott, bass; Donika Mataj, soprano. Orchestra and Chorus of the Accademia di Santa Cecilia Children Chorus of Accademia di Santa Cecilia e Teatro dell’Opera di Roma Band della Guarda di Finanza. Conductor: Antonio Pappano.

Above: Erwin Schott [Photo by Riccardo Musacchio and Flavio Ianniello]

 

In addition, Maestro Antonio Pappano gave to the concert a title quite similar to that of the movie: “Angels & Demons”. This did ingenerate some confusion in the press. Opera Today seldom deals with symphonic concerts. However, this was a very special opportunity: an appetizer of what Pappano could do if he would conduct a fully fledged performance of Arrigo Boito’s Mefistofele. I do not know whether Pappano has ever conducted the full opera in a stage performance.

Mefistofele is an “opéra maudite”, viz . an opera over which a bad spell seem to hang . It was a fiasco when his 7-hours-plus first version was premiered on March 5 1868. It was a major hit when drastically revised, the present version (about two and a half hours of music) was stage on October 4 1875 in Bologna. This second version was successful nearly until World War Two. Then, it disappeared nearly all over. In the USA, I remember a good production constructed by the York City Opera around the bass Norman Triegle in the 1970s. In Italy, only a few conductors (Riccardo Muti, Stefano Ranzani, Nicola Colabianchi) appear to like it. A few years ago Mefistofele was produced at La Scala but only for a few performances. In 2005 it was on the stage of the small Maruccino theatre of a little provincial town, Chieti; there Maestro Colabianchi took up the challenge. A few months later, Maestro Muti conducted two open air concert performances of excerpts of the opera in Ravenna and Tunisia. In 2007, a glittering Giancarlo Del Monaco production inaugurated the season of the Palermo’s Teatro Massimo with Maestro Ranzani in the pit.

I consider Mefistofele an uneven masterpiece , the only real attempt - with the second part of Mahler’s Eighth Symphony - to capture the spirit of Goethe’s poetry. Of course, only an attempt due to the immensity of Goethe’s Faust. There are naïve parts and uncertainties - something rough, not fully polished. But this adds to its charm.

Even in the decades when Mefistofele was hardly seen on stage, “The Prologue in Heaven” was often performed as a concert piece. It is a 25 minutes superb summary of what will happen next in the opera. Maestro Pappano , and the orchestra and chorus of the Santa Cecilia chorus- as well as the Rome children chorus - provided a real heavenly panoply in the opening of the “The Prologue”. The trumpet fanfares were sumptuous, the percussion thunderous, the brass and harps angelic: the audience felt to be in the Celestial Heights. Then with arrival of the Uruguayan bass Elwin Schott and his sarcastic and burlesque “Scherzo” we were taken down- to Hell. Schott is a bass with a well-tempered timbre; his grumblings sound even more blasphemous than in Triegle’s or Furlanetto’s performances. Pappano , the orchestra and the double chorus reach solemnity in the “Chorus Mysticus” scene immediately followed by a sharp confrontation in the challenge scene to ascend again to Celestial Heights when the Cherubins arrive and chase the tempter. A vibrant full of fire conducting which makes me ask for more, for a full production. The concert hall has 2800 seats ; the audience was enthusiastic.

Mefistofele’s “Prologue” was precede by a rarely performed Verdi’s Te Deum . Verdi was a tormented atheist, whilst Boito was a deeply rooted and contented atheist. His Te Deum is a late composition - first performed in 1898 when he was well in his 80s. It was not an old man’s search for after-life-peace. With a bit of irony , Verdi wrote that it was meant as the Audience’s (with capital “A”) Thanksgiving for not having to listen to his opera any longer . Twenty years after his Requiem, Verdi is back in Church but once more, like in a melodrama his music deals with human, very human passions more than with Godly feelings. The Chorus is a grand-opera chorus counterpointed by a soprano voice and a masterly orchestration . Pappano is, first of all, an operatic conductor. Hence his highly dramatic.

The initial part of the concert was Beethoven’s First Symphony. Pappano lengthened the tempos: the symphony lasted nearly 45 minutes instead of the 30-35 in most recorded performances . He added pathos in the “adagio” and “andante con brio” but last the Haydn’s and Mozart’s XVII century elegance in the “minuetto”.

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):