06 Aug 2009
On deception at Sferisterio Festival, Macerata, Italy
L’inganno is this year’s theme at the Sferisterio Festival in Macerata, Italy.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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.