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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

Patricia Racette (Sister Angelica) in Suor Angelica [Photo by Cory Weaver courtesy of San Francisco Opera]
11 Oct 2009

Il trittico in San Francisco

In the otherwise silent sixteen years between La fanciulla del west (1910) and Turandot (1926) Puccini had a flirtation with operetta, La rondine (1917) and with the quick and easy drama of the short story in his three one-acts, Il trittico (1918), composed as a one-evening cycle.

Giacomo Puccini: Il trittico

Click here for cast list of Il Trovatore

Above: Patricia Racette (Sister Angelica) in Suor Angelica

All photos by Cory Weaver courtesy of San Francisco Opera

 

Both light-weight works remained on the fringe of the Puccini repertory for most of the twentieth century, though in recent years they have been exploited in opera’s attempt at repertory expansion.

In San Francisco La rondine reappeared in 2007 in a lackluster production made splendid by the magnetic Rondine of Angela Gheorghiu. Il trittico was in the 1923 and 1952 SFO seasons (though parts of it have appeared in many other years), and just now it has dared the War Memorial stage once again, and succeeded as one of its truer artistic ventures!

The by-now enormous vocal resources of SFO triumphed, led by Merola and Adler Fellow alumna Patricia Racette as all three heroines — Giorgetta, Suor Angelica, Lauretta, supported by fifteen other past and present Merolini and Adler Fellows, notably mezzo Catherine Cook as Frugola, Monitor and La Ciesca. And not the least of whom was conductor Patrick Summers, a most distinguished Merola alumnus. Three singers only, of the thirty two singers who performed the myriad of roles across the three operas, validated the company’s international pretensions, Italian baritone Paolo Gavanelli as Michele and Gianni Schicchi, Polish contralto Ewa Podles as the Princess, and Italian bass Andrea Silvestrelli as Il Talpa and Simone, thus delicately spicing the otherwise all American brew.

Verismo as an operatic term is applied to the Puccini oeuvre though verismo per se is much purer than any Puccini opera ever wanted to be. Puccini was far more entralled by horror theater, the infamous Grand Guignol, like the blood bath that concludes Madama Butterfly, her two-year-old son looking on, and particularly in the revelation of Luigi’s mutilated body in the triptych’s Il tabarro. Not to mention Suor Angelica’s on-stage suicide under the gaze of the Virgin Mary, and the Gianni Schicchi heirs’ horror that their arms be reduced to stumps.

Schi_LomRac.gifDavid Lomelí (Rinuccio) and Patricia Racette (Lauretta) in Gianni Schicchi

Paris’ Theatre du Grand Guignol, the world’s original horror theater (20 rue Chaptal), finally petered out in 1962, the public no longer titillated by the contemplation of the gruesome. But it was going strong during and after the first world war, and fashionable for the fashionable. Puccini was a man of his times, a true Italian with his finger on the pulse of style, and all style was Parisian just then. Voilà Il trittico.

Nowhere on earth do opera audiences seem partial to high style. Thus when West Virginia born stage director James Robinson conceived this fairly high concept production for New York City Opera in 2002 he was careful to imbue its original cutting edge style with adorable, witty images. The first was even a caricature, a super-endowed and sexually overripe female alone on the empty stage slinking alongside a mostly submerged hut. Puccini’s Seine flowed as bored time and there was little hint of a Parisian dockside, it could have been near a coal mine as well, but where was not the point as long as it was dark and low.

Robinson stripped la Frugola of her usual pathos, instead we saw a happy, giddy floozy with her homey fantasies. Luigi was a lanky American boy, not smart enough to keep his hands off the boss’s wife, Giorgetta, who was aching to be touched in her little girl, Butterfly voice, and strangely dismissive of her baby’s death. At last Michele blew-up in nearly buffo terms leaving Luigi dead, hanging from his arms like a Michelangelo Pietà.

Robinson rendered Suor Angelica’s seventeenth century convent as a twentieth century children’s hospital adorable in its sterile detail. Its diseased and maimed occupants were quietly eating lunch while its custodians chattered about trivial spiritual concerns. The maiden aunt arrived in supercilious Protestant outrage and the resulting suicide was somehow rendered by all this clutter into terms that were softly personal, and heart wrenchingly tender. The final, blurred vision of an Asian-American boy (Trouble, now seven years old?) was super witty, hardly maudlin at all.

Robinson made Buoso Donati’s home with a view a shiny white high rise hospital room, so shiny that its patterned black and white marble floor was perfectly reflected on the walls and ceiling, the heirs attired in oh-so impeccably fashionable black and white. Lauretta was a daddy’s valley girl who got finally everything she wanted, save a good view of Florence as set designer Alan Moyer’s Duomo dome ruthlessly blocked most of it. Nothing’s perfect.

And so the more delicate sensibilities of twenty-first century audiences were titillated by wit rather than horror. And greatly so by the superb individual performances of the entire cast. Patricia Racette, without doubt the world’s reigning Butterfly, was in magnificent voice (9/30). She applied the wiles of the complex Butterfly role to Puccini’s quickly drawn triptych heroines with contagious gusto. Though Il trittico had its world premiere at the Met in 1918 (with three different sopranos), the Met jumped the anniversary gun by introducing a new production by Jack O’Brien in 2004. Odds are that even the new, enlightened Met with its reprise next year (with la Racette) cannot one-up this low budget NYCO production as it was incarnated just now at SFO.

Notable among many fine performances was American tenor Brandon Jovanovich, already an SFO Pinkerton (2007), whose rendering of Luigi as a down-and-out itinerant worker willing enough to appease Giorgetta’s animal needs was down-right real. Mexican tenor David Lomelí, an Adler Fellow, brought solid voice, stolid presence and just about enough stature to fill the shoes of Lauretta’s fiance Rinuccio. Impressive indeed was the contralto voice and performance of Merola alumna Meredith Arwady as the Abbess and Zita.

And finally Paolo Gavanelli stepped off the stage onto the apron to have the last word, and beg applause for his vivid performances of two of opera’s most sympathetic villains, Michele and Schicchi, and for Puccini’s kitsch operatic novellas of heaven and hell, and purgatory too. There was a mighty roar, particularly for the responsive, hyper-sensitive conducting of Patrick Summers who got Puccini just right for this heady concoction.

Michael Milenski

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):