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Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
09 Jun 2009
Così fan tutte, English National Opera
ENO's latest new production of Così — their third this decade — made the arts headlines from the start of its rehearsal period when director Abbas Kiarostami found himself unable to secure a UK visa and was forced to withdraw his direct involvement, leaving colleague Elaine Tyler-Hall to deputise.
The staging is an import from Aix-en-Provence, so did at least exist fully-fledged to begin with, but it was nonetheless a major blow to both Kiarostami and ENO that he could not be there to oversee its London revival.
Unlike some other recent opera productions by film directors one may mention, his début does not look or feel especially cinematic. Yes, there are complex animated video projections which provide the backdrop for the majority of the opera, but these seem quite separate from the live action on stage — or rather they seem to add little to the directorial interpretation of the opera as a theatrical piece. The vast calm sea projection looks lovely, but when in the second scene a little red-sailed boat heads slowly across the bay (to collect Ferrando and Guglielmo) it succeeds only in drawing the eye towards it for the entire duration of the scene, detracting attention from the singers. A projected on-stage orchestra for the wedding scene is entertaining at first, but it remains there for the whole of the final scene, and becomes annoying to watch once the real conductor’s beat has drifted slightly out of synch with it.
Otherwise the staging is an entirely conventional and old-fashioned one, disappointingly bypassing any attempt to deal with the opera’s difficult issues surrounding human nature, betrayal, and sexual double-standards. Without the projections (and some really lovely lighting by Jean Kalman) there would have been little else to distinguish this staging from one you might see from a run-of-the-mill touring company in a suburban town hall.
Of course it is highly unlikely that such a town-hall setting would boast two such classy performances as came from the evening’s soprano soloists. First, Fiordiligi: on the evidence of Susan Gritton’s performance of the same role in the previous ENO production, she wasn’t quite in her best voice on this occasion, and remains not entirely comfortable in the lower depths of the role’s enormous vocal range - but she is grippingly passionate, involving, and always intelligent. The other star turn came from young Sophie Bevan, whose confident, spunky Despina was a real highlight, using her diminutive figure to great comic effect in her guises as doctor and lawyer, and singing outstandingly well.
Stephen Page’s incisive and eloquent Don Alfonso easily dominated the two male leads, neither of whom left much of a dramatic mark, and to be honest it was tricky to see quite what the girls saw in them. At least the American baritone Liam Bonner was a vocally attractive and secure Guglielmo, but Canadian tenor Thomas Glenn was lightweight for Ferrando in such a large house, and sang untidily. Mezzo Fiona Murphy, vivacious and sassy as Valencienne in The Merry Widow and Lola in Cavalleria Rusticana, was an warm-voiced but unaccountably characterless Dorabella, and with indifferent diction too.
Sophie Bevan (Despina), Susan Gritton (Fiordiligi), Fiona Murphy (Dorabella), Liam Bonner (Guglielmo) and Thomas Glenn (Ferrando)
The young Swedish conductor Stefan Kingele kept everything brisk and energetic right from the start; the tempo change into the fast section of the overture was brought forward a few bars, so that the second half of the Così fan tutte motif was already charging along at the new pace. He had less success in maintaining a tight ensemble between pit and stage; there were far too many partings of the ways.
The production makes the ending simplistic to the point of nonsense, without any apparent exploration of how the couples’ feelings towards one another may have changed, developed, or turned on their head as a result of the little experiment. None of them seem, ultimately, to have been remotely challenged by it. We are left wondering why Don Alfonso bothered.
Ruth Elleson © 2009