Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

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.

The Tempest Songbook, Gotham Chamber Opera

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.

San Diego Opera presents Adams’ Riveting Nixon in China

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.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

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.

An Ideal Cast in Chicago’s Tannhäuser

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.

Madame Butterfly, Royal Opera

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.

Tosca in Marseille

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.

Poetry beyond words — Nash Ensemble, Wigmore Hall

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.

Arizona Opera Presents Magritte Style Magic Flute

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.

OPERA TODAY ARCHIVES »

Reviews

The Full Monteverdi: A Film by John la Bouchardière
23 Aug 2009

The Full Monteverdi: A Film by John la Bouchardière

Although the cutesy title sounds like something conjured up by a community college marketing intern working for a mid-sized city orchestra’s ticket office—where every concert featuring Wagner and Brahms gets the sobriquet “Teutonic Titans”—don’t be put off by the moniker. This film is a brilliant adaptation of Monteverdi’s Fourth Book of Madrigals that is totally faithful to the composer’s music.

The Full Monteverdi: A Film by John la Bouchardière
A Music-Drama based on Claudio Monteverdi’s Fourth Book of Madrigals.

Featuring I Fagiolini: Anna Crookes, Carys Lane, sopranos; Clare Wilkinson, mezzo-soprano; Nicholas Mulroy, tenor; Matthew Brook, baritone; Giles Underwood, bass; and Robert Hollingworth, director. Actors: Pano Masti, Alan Mooney, Mark Denham, Katherine Peachey, Anna Skye, and Gina Peach. Written and Directed by John la Bouchardière.

Naxos 2.110224 [DVD]

$19.98  Click to buy

The development of opera in Italy is largely unthinkable without the madrigal. Although the madrigal was a highly sophisticated musico-poetic form featuring advanced harmonies and subtle texts of great literary value, it was, after all, a choral form meant for unstaged performance. Yet the dramatic power of the madrigal was such that monody—an early form of recitative--would eventually evolve from it. What director John la Bouchardière and the members of I Fagiolini have done is to demonstrate in a staged version the dramatic and rhetorical power of Monteverdi’s madrigals.

The Fourth Book of Madrigals for 6 voices (1603) is perhaps Monteverdi’s most famous book of madrigals because they were used by the composer to adumbrate the principles of the seconda prattica, that is, madrigals in which the composition of the music followed the lead of the rhetoric of the poetry. The Fourth Book is also notable for the high quality of the texts, consisting of poems by Giovanni Guarini (Il pastor fido) and Torquato Tasso among others. The 19 madrigals of the book share an emotional intensity expressive of the ebb and flow of a profound love. What the creators of this film have done is to pair each of the six singers with an actor and then to stage the performance as though it were six couples who coincidentally are having dinner at a contemporary restaurant. This allows each of the singers to have a dramatic foil, a person who is the object of the subjective text. This is a brilliant conceit and it works spectacularly well. What is even more remarkable is that this movie is a studio filming of the work that was originally performed live on stage. It is hard to imagine the concentration involved in performing highly chromatic madrigals with the performers not being in close proximity, and at time not even facing one other.

The film introduces a personalization of the intense emotional drama, alternating its focus among the various couples and even allowing for visual flashbacks as the music unfolds. Thus, we can be given the “back story” visually (for example, a past argument) as the couple in question grieves for a split up that is about to take place. Although they have no words to say, the task for the six actors is especially daunting as they must express the rhetorical and dramatic power of the madrigals utilizing only facial cues and body gestures and avoiding the overly melodramatic style of silent film acting.

Another aspect of this film that I found particularly satisfying is that a number of the madrigals are performed attacca. The elision of the performances of the madrigals heightens their poetic and dramatic unity, even when the texts of the madrigals are by different authors.

Madrigals of this sort were considered to be musica reservata, that is, music of extraordinary complexity and subtlety that was meant to be appreciated primarily by a highly educated and relatively small elite. As such, seconda prattica madrigals are often a tough go for the uninitiated and especially so for the typical college music appreciation student. This film makes explicit the drama that is inherent in the music and poetry and can, therefore, do a great deal to promote appreciation of Monteverdi’s madrigals.

The members of I Fagiolini sing with tremendous expressivity, flawless intonation, and amazing vocal technique. So convincing was their performance that it was not difficult at all to suspend disbelief at watching 21st century couples in a restaurant sing Italian madrigals while breaking up before the first course. This is a highly recommended DVD that should prove attractive to both opera lovers and early music devotees.

William E. Grim

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):