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

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

OPERA TODAY ARCHIVES »

Reviews

Gaetano Donizetti: Maria Stuarda
11 Oct 2009

Donizetti's Maria Stuarda at the Sferisterio Festival

A number of performances from the Sferisterio Opera Festival have been released in recent months.

Gaetano Donizetti: Maria Stuarda

Elisabetta: Laura Polverelli; Maria Stuarda: Maria Pia Piscitelli; Anna Kennedy: Giovanna Lanza; Roberto: Roberto De Biasio; Talbot: Simone Alberghini; Cecil: Mario Cassi. Coro Lirico Marchigiano 'V. Bellini'. Marchigiana Philharmonic Orchestra (FORM). Riccardo Frizza, conductor. Pier Luigi Pizzi, stage director, set and costume design. Sergio Rossi, lighting design. Recorded during the Sferisterio Opera Festival, Macerata, Italy, 3 August 2007.

Naxos 2.110268 [DVD]

$29.49  Click to buy

A summer event, the festival setting, a classic amphitheater, can be seen under the opening credits of this DVD. This brief segment sets the mood for a good opera evening, as the crowd settles to view the action on the long, relatively narrow stage. Pier Luigi Pizzi directed an atmospheric Macbeth for the festival (search the archives for the review here). The same design principles that enhanced that Verdi opera do not work as effectively for Donizetti’s Maria Stuarda. Once again, there are ramps, staired pedestals, a pitch black background, and simple, spare props. Costumes are heavy and detailed, with so much fabric in the ladies’ gowns that some produce annoying rustles with the slightest movement. Pizzi, who designed sets and costumes besides directing, must have decided he’d get more “budget bang” out of how he dressed his singers than in where he placed the action. Here he strands his performers in unatmospheric, dark surroundings, making the already sketchy drama seem portentous as well.

The weak structure of Maria Stuarda doesn’t help matters. Act one takes about 30 minutes to set up Elisabetta’s hatred of Maria Stuarda, not for political/religious reasons but because Elisabetta feels that Maria stole the Queen’s man, the Earl of Leicester. Maria only enters her eponymous opera in act two, where she is begged to tamp down her temper when Elizabeth visits, in hopes of a reprieve from her death sentence. But in the scene that keeps this opera alive, Elisabetta and Maria tear into each other with claw and fang. Understandably condemned, Maria then spends act three, after a futile attempt to change Elisabetta’s mind, exhibiting tragic nobility as she awaits her fate beneath the ax. The great choral number at the end serves as the audience’s reward for enduring Maria’s protracted leave-taking.

In a recent La Scala production on DVD, Anna Caterina Antonacci as Elisabetta and Mariella Devia as Maria put on a master class of vocal technique and committed acting. This Sferisterio production suffers from lacking a potent Elisabetta. Laura Polverelli scowls appropriately, and Pizzi certainly employed his skills to make her both as regal and as unattractive as possible. But Polverelli sings monotonously, with little color or insightful inflection. Maria Pia Piscitelli fares better as Maria, especially in the final scenes. As an actress she doesn’t possess much range, but her instrument at least can meet Donizetti’s challenges and retain some degree of appeal. She is thoroughly adequate, as are Roberto De Biasio as Leicester and Simone Alberghini as Talbot.

Ricardo Frizza and the Orchestra Filarmonia a Marchigiana play crisply, though not with immaculate tuning. Though the Naxos booklet comes only in English, it deserves praise for offering a full track listing, credits, essay, synopsis, photographs and artist biographies. Many booklets from larger companies don’t offer all that. Still, for Maria Stuarda on DVD, go for the La Scala.

Chris Mullins

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):