Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

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

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

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!

Dolora Zajick Premieres Composition

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.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

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’.

Il barbiere di Siviglia in Pesaro

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 in Pesaro

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).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Natalie Dessay as Violetta [Photo by Ken Howard courtesy of Santa Fe Opera]
27 Jul 2009

An Evening at Père Lachaise [Or, Natalie Dessay Attempts Violetta]

A fine-sounding Santa Fe Opera orchestra, excellently conducted by Frédéric Chaslin, was barely into the haunting, delicate prelude to Act I of La traviata, when a funeral procession, wet umbrellas unfurled, arrived to wend its way though a stage full of big grey marble rectangular boxes, handsomely abstracted tomb shapes, soon to be the courtesan Violetta Valéry’s destination. So much for the Prelude to Act I.

Giuseppe Verdi: La traviata

Violetta: Natalie Dessay; Alfredo: Saimir Pirgu; Gastone: Keith Jameson; Germont: (through Aug. 17) Laurent Naouri, (Aug. 22, 26, 29), Anthony Michaels-Moore; Douphol: Wayne Tigges; Dr. Grenvil: Harold Wilson. Conductor: Frederic Chaslin. Director: Laurent Pelly. Scenic Designer: Chantal Thomas. Costume Designer: Laurent Pelly. Lighting Designer: Duane Schuler.

Above: Natalie Dessay as Violetta

All photos by Ken Howard courtesy of Santa Fe Opera

 

_MG_2947a.gifSaimir Pirgu (Alfredo)

During the intensely dramatic prelude to Act IV, anonymous stage figures in half light, darted about draping the tombs with white shrouds preparing the death scene of Violetta — so much for that essential orchestral moment; again our attention had fled. For Flora Bervoix’s Act III party, the weighty boxes, artfully arranged at varying heights, served as pedestals to show off swaying party girls in lavish 20th century dancing gowns. “Dancing on her grave?” Santa Fe’s new mounting of Verdi’s opera, largely the work of a director Laurent Pelly’s French team and the prima donna Natalie Dessay, seemed an evening at Père Lachaise, almost literally, but Lachaise-manqué, transmogrified. The conceit was interesting; many in the audience liked it and enjoyed its innovative energy, yet it was, as we say, for its own sake — it added no new insight into the old opera. It could also get in the way.

_MG_3847a.gifLaurent Naouri (Germont) & Natalie Dessay (Violetta)

Opinion divides on Mme. Dessay, as it usually will when coloraturas essay Violetta’s essentially dramatic role. Through history, light-voiced divas such as Galli-Curci, Lily Pons and Roberta Peters have tried and faded with the fatal part. Deconstructively ruinous at Santa Fe was Dessay’s Act II costume — dull, shapeless cotton slacks and a large man’s-style white overshirt; barefoot. She was a 1960s hippie caught at home. The problem was it robbed her of much dignity: and Violetta’s self-denying dignity is key to the effect of this central act, with the two Germont men, each asking her something different, and opposing. She is cruelly torn; it takes all her resources to survive intact. By dressing her way down for the big confrontation scenes, Dessay’s Violetta lost a lot of feminine stature and, unintentionally I am sure, pushed her comic-seeming side; she looked raffish and moved in an almost Carol Burnett way — all wrong. Producer Pelly got this act badly off key. To do anything to defeminize Violetta is a grave mistake. Violetta must be poignantly believable in Act II — or her show does not fly, hélas!

The device of the graveyard underlying the whole opera seemed an over-kill, ultimately a kind of director’s bad joke. Once again, where was dignity, seriousness? La traviata is a mid-19th century tragic opera, with many social overtones; it is most certainly to be taken seriously. But I did not sense a lot of that with M. Pelly, though the performing artists worked hard. Where was letting the music speak for itself (as in the two preludes mentioned above)? Is it anything less than an affront to second-guess Giuseppe Verdi in judging the effect of his music, and what it takes to put it over in theatrical terms? Opera lovers will have their own views on this. In an interesting touch, Père Germont was costumed and played as a 19th century figure, and that he surely is; but Violetta is no less so, and to take her out of that cultural milieu was counterproductive.

_MG_6138a.gifNatalie Dessay (Violetta)

Finally, Mme. Dessay is not a Violetta. As seen on the Santa Fe stage, she is a little bird — in Act I a frantic, drunken little bird with an orange wig and bright red and pink plumage; by the end she was a plucked pullet flopping about the stage. Her voice does not have the dynamic or tonal range to explore the full dimensions of Verdi’s music or Violetta’s emotions; it is almost always the same color. She was wise to sing both stanzas of “Addio del passato…” for a soft pianissimo tone is her best asset just now, and she long held the aria’s final p. high-A. A singular moment. I like Mme. Dessay a lot, and she’s had a wonderful career, especially considering two throat surgeries and a baritone husband. I think she has the spunk, but ultimately not enough vocal resource to do justice to Verdi’s paragon soprano role. The surprise of the evening was the excellence of Parisian baritone Laurent Naouri in the role of Père Germont. His well-voiced traditional portrayal played strongly against the eccentricity of the rest of the production; he showed vividly how this wonderful opera should be treated. The young Alfredo was debut artist Saimir Pirgu, an Albanian tenor with a pleasing voice and manner, graced by a nice smile. In the latter stages of the opera he warmed to some beautiful soft-toned singing.

J. A. Van Sant ©2009

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):