21 Jun 2009
Claudio Abbado Introduces the Complete Pergolesi
Very little is known about Giovanni Battista Draghi (or Drago, according to certain sources), known as Pergolesi.
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.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Very little is known about Giovanni Battista Draghi (or Drago, according to certain sources), known as Pergolesi.
He was born in Jesi — also the birthplace of Gaspare Spontini — on January 4th 1710 to a poor family (and most likely affected by many hereditary diseases). At a young age he left the small and pleasant little town on the Marche hills near the Adriatic Coast to move to Naples. There he studied at the San Pietro in Majella Conservatory. Upon graduation, he found employment as a musician and composer with a family, the Maddaloni, closely linked to the Austrians and thus not on good terms with the new powers-to-be in Naples (the Spaniards). He died young , at the age of 26, in a Monastery near Pozzuoli, in the suburbs of Naples. In his short life, he composed several opera serias, Church music and intermezzos. He was, it seems, well-known and appreciated in Naples and Rome (where the Maddaloni family went to find shelter when the Spanish Bourbons took over the Government in the Southern State).
He became internationally known several years after his premature death when his intermezzo La Serva Padrona, generally credited as the first opera buffa, precipitated a major artistic controversy (la Guerre des Bouffons) in France as well as elsewhere in Europe in the decades immediately preceding the Revolution. The first performance of La Serva Padrona in Naples in 1733 passed unnoticed; it was performed as a intermeszzo among the three acts of the opera seria Il Prigionier Superbo. La Serva Padrona was produced in Graz in 1739 by an Italian touring company without much notice. Its big splash was in Paris in 1752. Then, it provoked such a tumult of enthusiasm that it can be said to have caused a revolution in French opera; it played to almost full houses for nearly three years. At that time, French opera dominated and domineered European stage. The plot of La Serva Padrona is simple and satiric. Most of the dialogue is written the rapid recitative secco , unknown elsewhere in Europe except for Naples. The real charm of the short two parts intermezzo resides in the set numbers arias and duets where comedy and pathos intermingle. It was a real shock in Paris where the baroque opera was at its sunset and the tragédie lyrique was losing his hold. La Serva Padrona became an opportunity to inveigh against tradition and to promote the new culture of free expression of feelings- in short, to bring enlightenment to the opera stage and to the opera houses. The philosopher Jacques Rousseau became the leader of the movement; he himself composed an opera buffa in the new style, Le Diven du Village.
A scene from La Serva Padrona
Internationally, Pergolesi is mostly known for La Serva Padrona and two of his sacred pieces, Salve Regina and Stabat Mater, but he was a prolific composer in his brief life; at least six operas, mostly opera serias, are attributed to him. For the 300th anniversary of his birth, the Jesi-based Pergolesi Foundation has the ambitious program to stage all of them; the six operas will be staged in Pozzuoli, where, as already mentioned, the composer died.
It is fair to say that only two of the six operas would be new productions. In the last few years, the Foundation has already staged four of them in programs co-produced with the Festival of Radio France in Montpellier and with the Baroque Festival of Beaune as well as with the theaters of Modena, Piacenza, Ravenna, Reggio Emilia and Treviso. The full schedule is available at www.fondazionepergolesispontini.com and summarized at the end of this article.
A scene from L’Olimpiade
A jump start to the festival was, on June 5th, a concert of the Mozart Orchestra with Claudio Abbado conducting a fine group of soloists and the Swiss Radio Chorus. The concert was performed in the lovely Pergolesi Theatre in Jesi, with live and free maxi-screen video on the main square of the town. Only the initial number of the concert came from an opera, the aria Manca la guida al piè from the Neapolitan music drama Li Prodigi della Divina Grazia nella Conversione e Morte di San Guglielmo, a dramatic play Pergolesi composed when he was 21. The play has never been staged in modern time; it is programmed for December 2010 as a part of the performances of Pergolesi’s complete oeuvre. The rest of the concert was devoted to Church music with the Missa in F major taking up the entire second part. Abbado conducted with sublime elegance. All the soloists were of high standard, especially the alto Sara Mingardo. The audience was enthusiastic.
Our readers are most likely more interested in the operatic full immersion in Jesi and Pozzuoli than in a review of concert. I have seen in Jesi all the four productions that will be revived as a part of 2010 program. All of them are of high quality and show a Pergolesi very different than the composer generally known to international audience - mostly through La Serva Padrona, Salve Regina and Stabat Mater. I would recommend especially two of the four operas: La Salustia and L’Olimpiade. The former is one of the early opera seria by Pergolesi: it is passionate, nearly lascivious (also due to the staging by Jean-Paul Scarpitta), and thus very modern as compared to the standard and style of the time. The latter uses the Metastasio libretto previously set to music by Vivaldi, Galuppi and others, but it is unusually powerful in capturing friendship and competition among two young men; the staging of Italo Nunziata is a dramatic masterpiece.
The Opera performances in Jesi:
Il Prigionier Superbo- 11-12 September 2009 La Serva Padrona - 11- 12 September 2009 Il Flaminio - 4-6 June 2010 Adriano in Siria - 10’-12 June 2010 Livetta and Tracollo - 10-12 June 2010 La Fenice sul Rogo - 13 June 2010 Lo Frate ‘Nnamoratu 3-5 September 2010 L’Olimpiade - 10-12 Sempter 2010 Li Prodigi de la Divina Grazia 11September 2010 Il Prigionier Superbo 19-21 November 2010 La Serva Padrona 19-21 September 2010 La Salustia 10- 12 December 2010
Dates of the Opera Performance in Pozzuoli 4-13 September 2010