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

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

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):