Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

OPERA TODAY ARCHIVES »

Reviews

Mireille Delunsch as Elettra
19 Jul 2009

Mozart Mistreated at Aix-en-Provence Festival

At the festival of Aix-en-Provence, now in its sixty-first year, the final installment of Wagner’s “Ring,” with Simon Rattle and the Berlin Philharmonic, has hogged the spotlight.

W. A. Mozart: Idomeneo

Idomeneo: Richard Croft; Idamante: Yann Beuron; Ilia: Sophie Karthäuser; Elettra: Mireille Delunsch; Arbace: Xavier Mas; Gran sacerdote di Nettuno: Colin Balzer; La Voce: Luca Tittoto. Choeur Rundfunkchor Berlin / Choeur de la Radio de Berlin. Chef de coeur: Simon Halsey. Orchestre Musiciens du Louvre.Grenoble. Direction musicale: Marc Minkowski. Mise en scène et lumières: Olivier Py. Scénographie et costumes: Pierre André Weitz.

Above: Mireille Delunsch as Elettra

 

Nevertheless, Mozart has always been the core of the Festival repertory and the new production of “Idomeneo” did look good on paper. The opera has 6 performances, from July 4 through 17, in the traditional venue, the courtyard of the Archbishop’s palace in Aix.

Director Olivier Py has been heaped with praise for his work with Geneva’s opera for the past several years. Recently appointed to head the top Odéon–Théâtre de l’Europe in Paris (where the great Giorgio Strehler did much of his best work) he seemed a theater god who could do no wrong. This lumpy, limping production, however, suggests a serious case of clay feet.

First seen on stage are well-dressed African boat people (the Trojan prisoners in the libretto) who are menaced by AK-47 men in black for no particular reason. The story-telling did not improve later. Using massive amounts of structural steel, one critic commented that it was like Mozart meeting Gustav Eiffel. Actually, it was Eiffel who consistently demonstrated how light and graceful steel structures could be. Py’s “heavy metal” approach was oppressive to to the eye and garishly lit. The ungainly sections were on wheels and, during duets, couples were compelled to sing while ascend stairs and open doors of the twirling sections, all the while negotiating Mozartian rapids. The usually-cut ballet sequences (there was no choreographer credited in the program) had half-naked young men camping it up when they were not pretending to dismember each other and it reminding this writer of Madonna’s back-up dancers on tour.

Vocally, it is not promising when the singer with a real feel for the Mozartian style is the Arbace. Very impressive here, young Xavier Mas is clearly one to track. In the title role, tenor Richard Croft (Mozart’s 1789 tenor version was used) had often fine moments and his “Fuor del mar” was well received. Strain, however, was always apparent when the music went “forte” and beyond. French tenor Yann Beuron, as Idamante, has had his voice fill out and thicken these past years and, while still lovely, it no longer has easily agility. The talented Belgian soprano Sophie Karthäuser impressed as Ilia but, as with the decor, less steel would have been better.

When the grand Mireille Delunsch first descended the staircase as Elettra there was an electricity in her voice that demanded attention. But, reaching stage level and directorial requirements — silent-screen gesticulations that would have embarrassed Theda Bara — all hope of a definitive character disappeared. Later, during her final scene, there actually was a bucket of blood and she went ahead with the sponge bath, putting to rest the French idea of “du trop.” The Neptune — almost always on stage waiving his trident — was wearing what appeared to be a bargain Halloween costume from Woolworths.

07-02Id582.gifA scene from Idomeneo [Photo by E. Carrechio courtesy of Festival d'Aix-en-Provence

The singing, while not up to highest festival standards, served the music and Marc Minkowski and his Musiciens du Louvre-Grenoble contributed a strong orchestral underpinning with their traditional gusto. A few orchestral sour notes could be attributed to the changing humidity as night falls — a traditional problem with outdoor concerts. This opera of the 25 year-old composer has been receiving much attention in recent years with, as only one example, a fine new production of Luc Bondy at the Paris Opera. The Aix production, broadcast throughout Europe on the night I saw it, July 10, is not likely to induce a flood of ticket request for next season. This is an extraordinary opera and a cumbersome staging does not show the music to best advantage.

Frank Cadenhead

This article first appeared in La Scena Musicale. It is reprinted with the permission of the author.

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):