06 Aug 2009
On deception at Sferisterio Festival, Macerata, Italy
L’inganno is this year’s theme at the Sferisterio Festival in Macerata, Italy.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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.