Recently in Reviews
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
03 Aug 2009
Vivaldi: La fida ninfa
Although Antonio Vivaldi’s instrumental compositions were highly popular in his lifetime, and have been held in high regard throughout the centuries, most of his operas have been — until recently — relegated to obscurity.
This sad state of affairs is being rectified by the
wonderful new series of opera recordings available through the Naïve label,
part of its larger Vivaldi Edition project. Naïve’s most recent offering
in this series is a concert production of La fida ninfa, a work which
was premiered at the opening of Verona’s Teatro Filarmonico in January of
1732. One of the organizers of the event was the librettist, Francesco
Scipione, Marquis di Maffei. Scipione was a Jesuit-educated aristocrat who
specialized in Etruscology, dramatic theory, and classical philology —
but still managed to find time to participate in the War of the Spanish
Succession and, in his later years, write a famous theological tract attacking
Jansenist doctrines. The poet’s most famous literary effort was
undoubtedly his dramma, Merope, a work which served as one of the
models for Voltaire’s tragedy of the same name. Unfortunately
Scipione’s libretto for La fida Ninfa, an allegory on
matrimonial love replete with love-struck nymphs, grumpy pirates, and multiple
cases of mistaken identity, is less distinguished. While it is a credit to the
composer that he was still able to create an impressive work from this clichéd
literary material, the lack of a convincing plot line weakens the overall
impact of the opera.
More significant for modern listeners, however, is the fact that La fida
ninfa betrays the influences of the new musical style which manifested
itself most powerfully a year later in the work of Pergolesi — La
serva padrona. This new approach can be heard immediately in the overture
of Vivaldi’s work, which features short, repeated melodic motifs, a
decidedly homophonic texture, and the spare harmonic palette more typical of
the mid-century style than the high baroque. This impression is only
strengthened in the many beautiful solo arias and duets of the opera, where
there is an unmistakable emphasis on simplicity and clarity of formal
structures. Also indicative of this new style are the ensemble numbers which
end each of the three acts: the remarkably beautiful trio finale of Act I
(“S’egli è ver”), the quartet which concludes Act II
(“Così fu gl’occhi miei?”), and the duet/choral conclusion of
Act III (“Non temer”) sound much less like Vivaldi than they do
Pergolesi or even Mozart.
Musical highlights of this recording include the restrained virtuosity of
Verónica Cangemi as Morasto (her interpretation of the Act I aria “Dolce
fiamma” is particularly fine), and the musicality of Topi Lehtipuu
(Narete), who brings a relaxed and confident tone to all his solo arias.
Vivaldi lovers will especially enjoy Narete’s beautiful lament
(“Deh ti piega”) in Act II, where the very able conductor,
Jean-Christophe Spinosi, creates an astonishingly sensitive interplay between
the tenor and the orchestra. Lorenzo Regazzo is highly effective in his
near-buffo role as Oralto, the spurned and highly irritable pirate,
and Sandrine Piau portrays Licori, the faithful nymph, with great sensitivity
and an impressive command baroque vocal technique. While there is no shortage
of vocal fireworks in this recording (Cangemi’s virtuoso performance of
“Destino avaro” in Act II verges on the unbelievable) the pastoral
moments of La fida ninfa seem the most memorable: the haunting duets
“Dimmi pastore” (Act I) between Philippe Jaroussky (Osmino) and
Marie-Nicole Lemieux (Elpina) and “Pan, ch’ognun venera”
between Lehtipuu and Jaroussky in Act III are spectacular. It is in these less
hurried sections of the opera that Spinosi’s orchestra displays its
wonderful musicality and attention to detail which are the hallmarks of the
Vivaldi recordings of the Ensemble Matheus.
La fida ninfa is not one of Vivaldi’s better efforts. The
music for the finale, which features a dialogue between Juno and Aeolus
(competently sung by Sara Mingardo and Christian Senn), is artificial and
uninspired. Even the Tempesta di mare which precedes the last scene is
a disappointment (through no fault of the orchestra) and does not measure up to
similar moments Vivaldi’s Seasons, for example. The fact that
this opera was composed in great haste (Vivaldi was not even the first choice
of the organizers of the theatre opening, having replaced their preferred
composer, Giuseppe Maria Orlandini, at the last moment) is sadly apparent in
some of the music. Even so, the Ensemble Matheus’ fine performance of
this work is remarkable, and more than compensates for the occasional
weaknesses of the composition and blandness of Scipione’s libretto.
Donald R. Boomgaarden
Dean, College of Music and Fine Arts
Loyola University New Orleans