06 Aug 2009
On deception at Sferisterio Festival, Macerata, Italy
L’inganno is this year’s theme at the Sferisterio Festival in Macerata, Italy.
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
L’inganno is this year’s theme at the Sferisterio Festival in Macerata, Italy.
Derived from the Spanish word engañar (to deceive), inganno (deception) is presented by new productions of Don Giovanni, Madama Butterfly and La traviata, by the world premiere of Matteo D’Amico ‘s Le Malentendu,by Handel’s oratorio Il Trionfo del Tempo sul disanganno and by Ugo Betti’s play Corruzione al Palazzo di Giustizia.
The production of Don Giovanni was specifically designed for the Teatro Lauro Rossi, a 400-seat gem from the 17th century. Staging is simple: two black walls, three large Plexiglas mirrors and an oversized white bed. Two of the mirrors are placed so that the theater’s boxes and loggione become an integral part of the scene. The third mirror is suspended from above showing the stage and bed. The metaphor is clear: sexual drive animates the protagonist and lives in all the other characters, but it is also a motor to deceiving, and cheating on, one another. However, this choice is not meant to narrow everything down to sex and to the cheating and deception involving sex. Don Giovanni’s tragedy descend from his determination to achieve happiness and power only through deceiving and cheating by the means of sex, irrespective of how this is obtained . This staging requires young, handsome and athletic singers with, of course, excellent voices and experience.
Pier Luigi Pizzi’s direction demands, literally, an acrobatic performance for many singers but acting was always of very high quality. The singers chosen for the production are all accustomed to large theatres in Italy and abroad (e.g., La Scala and the Met) and not to a small theater such as the Teatro Lauro Rossi. As a consequence, they sang too loudly. A stentoreous Ildebrando D'Arcangelo (Don Giovanni) and a stubbornly passionate Carmela Remigio (Donna Elvera) were the stars. Both had perfect vocalisation and diction. Myrtò Papatanasiu (Donna Anna) tended to scream such that her diction was not understandable. Marlin Miller (Don Ottavio) had difficulties with the upper range. The remaining performers were good but not excellent. The music director, Riccardo Frizza, should have provided suitable guidance in establishing a proper balance. In addition, his conducting was deficient because of the lack of pathos and of the uncertain tempi throughout the performance.Scene from Don Giovanni
In the second opera in this series, Madama Butterfly, Pinkerton deceives little Butterfly by not taking his wedding vows seriously, by abandoning Butterfly and by subsequently marrying Kate. Performed at the open-air Arena Sferisterio di Macerata, Daniele Callegari, conducting the Orchestra Regionale delle Marche (the same orchestra as in Don Giovanni), evoked a remarkably better musical experience. We feel the subtleties of Puccini’s score (the familiar 1906 Opéra Comique version): from the Japanese folk melodies to the enthralling lyricism; from the matter of fact conversational pieces to the tragic denouement. The Coro Lirico Marchigiano “Vincenzo Bellini”, under the direction of David Crescenzi, ingeniously appear in Act II as a long procession on the 130-meter stage.
The sets and direction propose a “visionnaire” Japan – inspired by Pierre Loti’s blend of narrative and travelog. In front of the enormous wall of the Sferisterio is Butterfly’s white, spotless little house in a garden adorned by a cherry tree. By Act II, the verdant garden is transformed into a barren landscape. The widely-acclaimed Raffaella Angeletti performed the title role. Despite her petite physique, she possesses a powerful, yet delicate voice. She easily traverses the tonal range demanded by the role, her legato and phrasing being particularly noteworthy. Massimiliano Pisapia performed a credible Pinkerton with a generous tenor voice supported by a clear timbre. Although he is technically a “tenore spinto”, he has an excellent register particularly in the central tonalities. Claudio Sgura (Sharpless) and Annunziata Vestri (Suzuki) are deserving praise for their performances.Scene from Madama Butterfly
The 61-year old Mariella Devia appeared as the protagonist in this production of La traviata, a role portraying a youngish consumptive. Nonetheless, she was magnificent, without the slightest sign of fatigue. She turned from bel canto in the first act, to hectic realism in the second act and to the pale voice of the third act. Alejandro Roy was an effective Alfredo with a big voice displaying good phrasing and a remarkable flexibility in the upper extension. On the other hand, the trim, athletic Gabriele Viviani was barely credible as Alfredo’s father, especially in the dramatic scene and concertato at the end of the second act.Scene from La traviata
Violetta is on stage during the overture where the opera seemingly unfolds as a long flash back of the dying protagonist’s life. Her guests resemble ghosts. At the insistence of censors, the opera was originally set in and around Paris circa 1700. This production is set in Paris circa 1880-1890 (the Third Republic) not 1853 (the Second Empire) when the work was first performed. We smell the perfume (and the opium) of Proust’s À la recherche du temps perdu (In Search of Lost Time or Remembrance of Things Past). It is not a realistic staging. For example, in the second act, Flora’s guests wore their large hats throughout the party—a symbol of the strong conventions of the upper class of the Third Republic. But this was not the custom at that time. Mariotti’s musical direction kept a good balance between the pit and the stage. It was effective, innovative and passionate in the first act overture and in the third act prelude. The remainder of the performance, however, was merely ordinary. Overall, this was not a noteworthy production or performance.
Giuseppe Pennisi –based on the July 23rd, 24th and 25th performances.