Recently in Reviews
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.
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.
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