Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Cooperstown and the Hood

Glimmerglass Festival continues its string of world premiere youth operas with a wholly enchanting production of Ben Moore and Kelly Rourke’s Robin Hood.

Glimmerglass Oklahoma: Yeow!

Director Molly Smith knew just how to best succeed at staging the evergreen classic Oklahoma! for Glimmerglass Festival.

An Invitation to Travel: Christiane Karg and Malcolm Martineau at the Proms

German soprano Christiane Karg invited us to accompany her on a journey during this lunchtime chamber music Prom at Cadogan Hall as she followed the voyages of French composers in Europe and beyond, and their return home.

Schoenberg's Gurrelieder at the Proms - Sir Simon Rattle

Prom 46: Schoenberg's Gurrelieder with Simon Rattle and the London Symphony Orchestra, Simon O'Neill, Eva-Maria Westbroek, Karen Cargill, Peter Hoare, Christopher Purves and Thomas Quasthoff. And three wonderful choirs - the CBSO Chorus, the London Symphony Chorus and Orfeó Català from Barcelona, with Chorus Master Simon Halsey, Rattle's close associate for 35 years.

Le Siège de Corinthe in Pesaro

That of Rossini (in French) and that of Lord Byron (in English, Russian, Italian and Spanish), the battles of both Negroponte (1470) and of Missolonghi (1826) re-enacted amidst massive piles of plastic water bottles (thousands of them) that collapsed onto the heroine at Mahomet II's destruction of Corinth.

Dunedin Consort perform Bach's St John Passion at the Proms

John Butt and the Dunedin Consort's 2012 recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service.

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

OPERA TODAY ARCHIVES »

Reviews

Medici Arts DVD 2007
09 Sep 2009

Fidelio from Glyndebourne and Medici Arts

Beethoven’s Fidelio is actually several works combined — a rescue opera in the grand style of the French revolution, a sentimental comedy focusing on mistaken identity, and a tragédie bourgeoise involving a husband, a wife, and their efforts to re-unite despite the actions of a relentless and implacable foe.

Ludwig van Beethoven: Fidelio

Carsten Stabell; Juha Uusitalo; Peter Seiffert; Waltraud Meier; Matti Salminen; Ildikó Raimondi; Rainer Trost; Javier Agulló; Nahuel di Pierro; Cor de la Generalitat Valenciana. Orquestra de la Comunitat Valenciana; Lorin Maazel, Music Director. Zubin Mehta

Medici Arts 2072498 [DVD]

$26.99  Click to buy

As if this were not enough, the opera is also Beethoven’s political testament, an attack on tyranny and injustice initiated (quite literally) with a trumpeted call to arms for the forces of truth and fraternity. Fortunately, this confused (and some might argue, irreconcilable) juxtaposition of genres contains some of the composer’s most beautiful music, and lovers of the work will undoubtedly welcome these two recently released recordings of Beethoven’s only completed opera. Both performances date from 2006: an audio recording of a Glyndebourne production featuring Anja Kampe, Torsten Kerl, and the London Philharmonic conducted by Mark Elder, and a filmed performance (celebrating the opening of the new Palau de les Arts of Valencia) with Waltraud Meier and Peter Seiffert accompanied by the Community Orchestra of Valencia under Zubin Metha.

Glyndebourne_Fidelio.gif

A comparison of these two productions — one a two CD set, and the other a DVD — while inherently unfair, is revealing. From the first notes of the overture it is obvious that the Gyndebourne production features the better orchestra and more inspired conductor: throughout the performance Elder’s direction of the LPO is a heavenly delight. This is not meant as a criticism of Maestro Mehta, however, who still manages to create some powerful moments while working with a much younger and less accomplished orchestral ensemble. It is particularly regrettable that, unlike the Valencia version, the Glyndebourne production does not include a performance of the third Leonore overture before the second act finale (a tradition, begun by Mahler in Vienna, which Metha wisely follows). The Gyndebourne recording also features the better chorus (prepared by Thomas Blunt) — “O welche Lust” is sung with excellent diction, wonderful dynamic contrast, and superior balance by the British troupe. Elder’s direction of the LPO in the performance of the Haydenesque introduction to the chorus is unforgettable.

Waltraud Meier is a dynamic and powerful presence as Leonore, and her considerable talents are fully utilized in the Valencia production. The contrast between the vocal styles of Meier and Kampe is nowhere more evident than in “Mir ist so wunderbar” — Meier’s tone is commanding and mature, whereas Kampe’s seems less so. This comparison holds throughout the performances: Meier is simply more convincing and at ease in the showcase arias and duets. Her performance of “O namenlose Freude!” with Seiffert is remarkable, and is undoubtedly the happy result of their frequent collaboration together in other roles (most recently in the Met production of Tristan). Seiffert is less compelling when Meier is not on stage, however. Torsten Kerl’s Florestan is more endearing: the youthful tenor’s rendition of “Gott, Welch Dunkel hier” is athletic and impassioned, and made all the more enjoyable by the special touches added by the London Philharmonic’s wonderful accompaniment.

In the secondary roles each performance offers some special moments. Matti Salminen is surpisingly comfortable in his role as Rocco, and even pulls off the notoriously awkward “Hat man nicht auch Gold beineben” aria beautifully. While the voice is at times strained and raspy, his expressive presence, particularly in ensemble numbers, elevates the performances of his fellow cast members. Brindley Sherratt’s Rocco is adequate in the Glydnebourne version, but little more. Lisa Milne is impressive as Marzelline, and displays an enthusiasm for her role which Ildikó Raimondi seems not to. The rising Finnish star, Juha Uusitalo is an impressive and menacing Don Pizarro (seeing him interact on stage with fellow-Finn Salminen in the “Es schlägt der Rache Stunde” is a real treat), and Rainer Trost is a far more convincing and lyric Jaquino than Andrew Kennedy, whose voice seems forced and pinched throughout much of the performance.

Pierluigi Pier’Alli’s direction of the Valencia version features some fascinating video effects. His creative use of the motif of chains and prison bars (projected onto the screen on stage) which leads to Florestan’s aria to open Act II is highly effective. Despite this, some may find his otherwise rather conservative approach to much of the rest of the work a trifle dull, and it is unfortunate that Deborah Warner’s edgy Glyndebourne production can only be seen in a few photos in the album notes. One welcomes Pier’Alli’s willingness to allow Meier an opportunity to explore the full range of her dramatic abilities, particularly during the prisoner’s chorus, where the soprano wanders the stage in a futile search for Florestan — an unforgettable effect which she brings off beautifully.

Because of the merits of each performance it is difficult to choose between these two recordings. The Glyndebourne version is dynamic and more aurally pleasing, but the added visual dimension of the Valencia recording is quite powerful. Certainly, newcomers to Fidelio will appreciate the DVD version more than a sound recording, even a relatively good one. I suspect that those who already know the opera well will enjoy both of these new issues — each performance brings out different facets of the work, an opera which, despite its many flaws, remains one of the most enjoyable products of Beethoven’s genius.

Donald R. Boomgaarden
Dean of the College of Music and Fine Arts
Loyola University New Orleans

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):