Recently in Reviews
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
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.
Saimir 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.
Laurent 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.
Natalie 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
J. A. Van Sant ©2009