Recently in Reviews
Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.
As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.
Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
02 Aug 2009
Donizetti: Lucrezia Borgia
Of Donizetti's 55 operas, four to five hold on to secure places in the repertory, a much greater number are all but unknown, and in the middle come the titles that see occasional revivals, as flawed but fascinating rarities.
Lucrezia Borgia belongs to that latter group, and it might well have earned a place alongside Lucia and L’Elisir if Donizetti had been able to take more time in its composition (the booklet essay relates how the first rehearsals came only a week after Felice Romani had delivered the libretto to the composer!). Some of the music is uninspired, if professional, and the score’s most memorable numbers go to a relatively minor character (Orsini, a pants role for mezzo). The story itself may be fraudulent history, but it puts on stage an intriguing group of characters quite different from the formulaic romantic contraptions of many other mid-19th century operas.
Donizetti and Romani’s Lucrezia follows the historic portrait of a power-hungry woman who finds poison a useful way to protect and further her position. But she is also a loving mother, although she had to give the son she loves, Gennaro, over to an orphanage at an early age. Gennaro hates the Borgias, and his activities eventually draw a death sentence from Lucrezia’s husband, the Duke. She manages to save her son’s life once, but at the end of the opera she unwittingly poisons him (along with several others she quite wittingly intended to kill), and he refuses her antidote, dying in her arms after they have both sung at some length over the tragic turn of events.
The production Naxos presents originated at the Bergamo Musica Festival, in a recording compiled from November 30th and December 2nd 2007 performances. Angelo Sala’s set design employs stone columns and stairs, leaving most of the stage bare for appropriate props. More budget seems to have gone to Cristina Aceti’s costumes, of a traditional opulence. Lighting designer Valerio Alfieri casts much of the action in shadow and sickly blue light. It all adds up to a fairly conventional staging, but director Francesco Belloto has a good way with the singers, eliciting detailed reactions from not only the leads but from the entire cast, including chorus.
Dimitra Theodossiou, the Lucrezia, either hasn’t sought or hasn’t received many offers to perform in the U.S., but many a stateside opera fan would find her impressive. Not a conventionally beautiful woman, she has an old-time presence, self-contained , even regal. Without trying to judge the size of her voice from a recording, her soprano has that penetrating edge to it that usually carries well. The top can get steely, but she definitely has the notes. And when Donizetti wants the voice to move as nimbly as Lucrezia’s calculating mind does, Theodossiou doesn’t struggle a bit.
While acceptable, Roberto De Biasio’s Gennaro is not on her level. Before he warms up the intonation is not secure, and even once he is in control, the voice itself has little that is attractive about it. Enrico Giuseppe Iori makes for an impressively threatening Duke, and Nidia Palacios does well by the enjoyable music for Orsini. Efficient support comes from conductor Tiziano Severini and the Bergamo forces.
There are no extras on the Naxos disc. Paul Campion’s booklet essay is concise and informative, and there’s a helpful synopsis tied to the track listings, as well as the artist’s biographies. Anyone curious about this Donizetti opera should give this a look and listen.