Recently in Reviews
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
02 Aug 2009
Verdi: La Forza del Destino
This looks like a winner, with an esteemed conductor (Zubin Mehta), top-rank cast (Violeta Urmana, Marcello Giordani, Carlo Guelfi), and a production directed by Nicholas Joël that originated at the Opernhaus Zürich, a house that takes some chances and scores some successes.
But the beauty expected doesn’t even go skin deep. While Verdi’s great score keeps La Forza del Destino in the standard repertory, the problematic libretto requires both sharp intelligence and inspired imagination. Sure, one can go back to the classic video with Tebaldi and Corelli, where the fabric of the cheap sets ripples every time a character brushes past. At least their singing mesmerizes, distracting the 21st century viewer from the 19th century production values. Despite the quality of the performers here, that magic act does not repeat itself.
To be fair to Nicholas Joël, the booklet credits state that the production was “restaged by Timo Schlüssel.” All that matters is that the result of the men’s work feels like an elaborately costumed concert performance. The chorus stand in blocks or move in unison. The actors usually occupy a small space near the front of the stage and seldom interact convincingly. The costumes of Franca Squarciapino, while well-made, all seem to have come straight from the cleaner’s. Even after a battle-scene the two Dons look immaculate. Ezio Frigerio’s sets barely distinguish between the opera’s varied settings, with the final scene being the lamest. Leonora’s mountain hideaway is simply a barred cage, like one would see at some dreadful old-time zoo. Working in such forlorn circumstances, even the most vibrant of performers would struggle. As commendable as their vocal efforts may be, these singers need more direction to be effective. Violeta Urmana is a very healthy Leonora, with that pitiful loaf of bread for her meal apparently having a substantial carbo load. Perhaps needless to say, the effort to make her convincing as a male produces laughable results. But close the eyes and the ears will hear a substantial voice that can meet all of the challenging role’s demands, often with attractive power. Carlo Guelfi delivers a “shades of black” interpretation of Don Carlo, Leonora’s vengeful brother, but again, he delivers the goods vocally.
Marcello Giordani comes across as more committed to portraying a character, and his Don Alvaro does have both nobility, pride, and the requisite fatalism. As is typical with this busy singer, the middle voice sounds as good as any tenor today, but the top range is variable - sometimes ringing out as tenor fans love, and other times turning hoarse, constricted. Julia Gertseva’s Preziosilla can be counted a success in so far as the character is not nearly as annoying as she can be. Roberto Scandiuzzi’s Padre Guardino and Bruno De Simone’s Fra Melitone fade into the grayness of the production’s dim inspiration.
Zubin Mehta doesn’t try to prettify the score, letting its occasionally crass martial music roar away. The singers are always well-supported, and the forces of the Maggio Musicale Fiorentino, where this performance took place in 2007 (TDK doesn’t give any more time information), play idiomatically.
And to get really picky, TDK could do a better job of graphically identifying which of the two discs is which, as they have identical faces except for very tiny lettering with the disc number tucked away under the copyright. Go for the Tebaldi/Corelli, if it can be found.