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.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
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