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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

Scene from Pagliacci [Photo by Marco Serri]
26 May 2009

Zeffirelli’s New “Pagliacci” Without “Cav” But With Motorbikes

The new Franco Zeffirelli’s production of Ruggero Leoncavallo “Pagliacci” reached the Teatro dell’Opera di Rome on May 19 : I will be on stage in the Italian capital every night until May 27th . Then, it will continue a worldwide tour: its debut was in Florence in the 2008 Fall. It has already visited Moscow and Athens. It is rumored to reach the MET next seasons.

Zeffirelli’s New “Pagliacci” Witout “Cav” But With Motorbikes

Nedda: Myrtò Papatanasiu (19, 21, 24, 27) / Susanna Branchini (20, 23, 26) / Mina Yamazaki (22); Canio: Stuart Neill (19, 21, 23, 24, 26) / Renzo Zulian (20, 22, 27); Tonio: Seng-Hyoun Ko (19, 21, 23, 26) / Silvio Zanon (20, 22, 24, 27); Silvio: Domenico Balzani (19, 21, 24) / Pierluigi Dilengite (20, 23, 26) / Gianpiero Ruggeri (22, 27); Peppe: Danilo Formaggia (19, 21, 23, 26, 27) / Cristiano Olivieri (20, 22, 24); A Farmer: Giordano Massaro (19, 21, 23, 26) / Vinicio Cecere (20, 22, 24, 27); A Second Farmer: Antonio Taschini (19, 21, 23, 26) / Andrea Buratti (20, 22, 24, 27). Condustor: Gianluigi Gelmetti. Chorus Master: Andrea Giorgi. Stage director and set designer: Franco Zeffirelli. Costumes: Raimonda Gaetani. Lighting: Agostino Angelini. Orchestra and Chorus of Teatro Dell’Opera.

Photos by Marco Serri

 

Leoncavallo never attained anything else remotely approaching the success of “Pagliacci”, though he wrote a dozen of other operas and operettas. “Pagliacci” is normally plaid in a double bill with Pietro Mascagni’s “Cavalleria Rusticana”, as they are both short and kindred in spirit. Artistically, the combination represents the apex of the Italian “veristic” movement; commercially the double bill constitutes a salable “ham and eggs” staple for many an opera house. The “Pagliacci”’s Prologue is considered the very “manifesto” of “verismo” aesthetics It is known that Mascagni never appreciated the idea of the double bill. Zeffirelli broadly agrees with him. Albeit he has staged “Cav” and “Pag” in several theatres , including the “Met”, and also directed a movie with the two operas, most recently he has produced different versions of “Pagliacci” either alone or with a ballet (to fill the evening; “Pagliacci” lasts 70 minutes). In the 1980s, for instance, in a La Scala production, Zeffirelli placed the plot during Italian fascism and completed the performance with the Nino Rota ballet “La Strada” (after Federico Fellini’s movie). In the 1990s, in Rome “Pag” was a stand-alone show; the plot was placed under a highway bridge or by-pass in Southern Italy. In this new production, “Pagliacci” is a blighted Neapolitan suburbs where motorbikes (“lambrettas”, but also high speed Japanese motos) cross the stage, prostitutes of all races sell their ware, drug pushers are in the crowd of nearly 200 (double chorus, children chorus, extras).

The show is grand and also elegant and with Zeffirelli’s usual care for details. There is a special feature in the staging : the first act is quasi-neorealistic (inspired by Rossellini and De Sica movies of the 1940s); the second act is fellinian (viz in an atmosphere of Fellini’s movies). A real touch of genius which shows how Leoncavallo, although assertive “verista”, was approaching visionary expressionistic lands.

There a very close entente with the musical director Gianluigi Gelmetti whose wand demonstrate how brilliant is the score (in spite of what some reviewers starte); the use of motif’s point to Wagner’s influence (also present in the Canio’s role), the melodies are subtle and well-judged, the orchestra is used with elegance and the choruses (in Rome under the guidance of Andrea Giorgi) well-polished. The Prologue is a real stroke of genius. Gelmetti underscored the rhythmic élan of the main theme whilst Zeffirelli had the curtain abruptly torn aside to carry the audience into the kaleidoscopic world of the strolling players. The perfect “unison” between director and conductor adds value to the agonizing sorrow when Canio (Stuart Neill) takes on the second main them , his desperate “Ridi, Pagliacci”. Finally, the Colombin play is performed as it should be : a self-contained musical jewel with dance-like style including Nedda-Colombina (Myrtà Papatanasiu) minuet, Taddeo (Seng-Yyun Ko) light hearted waltz tune and duet where the comic parody has as undertone the dramatic thematic accompanied from the same scene in the first act and the underlying seriousness is clearly suggested.

pagliacci1.gif

The orchestra responded very well to the challenge of giving a demonstration that “Pagliacci” is not a second class score for cheap summer performances by travelling companies moving from resort to resort but a XX century masterpiece. Stuart Neill is big generous American tenor with the voice to fill the huge Teatro dell’Opera; his timbre is very clear and his acting better suited to Canio than to La Scala recent “Don Carlo” Myrtà Papatanasiu is a good soprano with a very nice voice emission but lacks the volume required by the Teatro dell’Opera. Effectuive Seng-Yyun Ko and the other.

The audience was thrilled as shown by the many curtain calls

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):