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

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.

Baroque at the Edge: London Festival of Baroque Music, 12-20 May 2017

On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.

OPERA RARA AUCTION: online auction for opera lovers worldwide

On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

OPERA TODAY ARCHIVES »

Reviews

Dmitri Hvorostovsky (Count di Luna) and Sondra Radvanovsky (Leonora) [Photo by Cory Weaver courtesy of San Francisco Opera]
04 Oct 2009

Il trovatore in San Francisco

SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.

Giuseppe Verdi: Il trovatore

Click here for cast list of Il Trovatore

Above: Dmitri Hvorostovsky (Count di Luna) and Sondra Radvanovsky (Leonora) [Photo by Cory Weaver courtesy of San Francisco Opera]

 

This fall season, besides programming only composers and operas that everyone has heard of, he seems to have targeted two other rather large groups — those who would not be caught dead in an opera house and those who are hard of hearing.

Verdi’s blockbuster Il trovatore opened the SFO fall season on September 11. The War Memorial’s familiar gold curtain flew out to reveal the production’s show curtain, a detail of one of Goya’s Disasters of War etchings, dampening the festive mood of the inauguration of the company’s eighty-seventh season. The Met and Chicago Lyric had conspired with San Francisco Opera to create this new production of Verdi’s first mega-opera. We can hope that it will not end up in SFO’s warehouse to be revived every five or six years, or ever again.

Verdi blockbusters are not fodder for little league opera. The great big San Francisco Opera had the goods. A big style, knock-em dead, real Italian conductor Nicola Luisotti, the company’s incoming music director; a real Italian tenor, Marco Berti (a recipient of the Giuseppe Verdi Gold Metal), Sondra Radvanovsky, an American soprano who brings real push to “spinto;” the mezzo Stephanie Blythe, Musical America’s (the major trade publication) current Singer of the Year; and Dimitri Hvorostovsky (who needs no introduction) as the Count di Luna. It was a lively contest as to who could sing louder, clearly at the urging of the maestro. It was loud, very loud.

The most beautiful singing of the evening came from Hvorostovsky in the second act reverie of his love for Leonora, though the effect was betrayed by the maestro who too aggressively drove Verdi’s delicate orchestration. Stephanie Blythe heaved the rantings of Azucena from her chest throughout the evening, leaving her vocally exhausted at the end, and arousing our concern for her on-going vocal health. Mme. Radvanovsky was busy with strange operatic acting accompanying her impressively goosed up, later in the evening bleating vocal production, evoking concerns for her eventual vocal health as well. Marco Berti squarely hit the high C (though not for very long) in Di quella pira, actually a high B as the whole aria had been transposed down to accommodate this show-off high note infamously interpolated by tenors.

At the September 25 performance many of the audience rose to their feet when Azucena appeared for her bow, then the balance stood when Hvorostovsky took the next bow (Azucena had just sung her guts out in the final trio while the Count di Luna merely looked on, one might have thought she would have taken the later bows in turn with Leonora and Manrico). Then la Radvanovsky got huge, the hugest applause, probably because she had the softer, prettier arias, followed by the title role, Manrico, who was well appreciated as the most genuine performance of the evening (no one expects sincerity from a tenor, so its lack was not a problem).

Scottish stage director David McVicar got the whole thing wrong. Il trovatore is not about infanticide or bloody revenge (or Napoleonic wars), it is about singing. Famously victimized as a bad libretto Il trovatore is a succession of set pieces that tell what has happened over a thirty year period. There is very little in Il trovatore of what is actually happening at the moment. Each of its eight scenes needs a specific mood to be set within which the story-telling takes place, and it was any attempt to create these moods that this production lacked. Unfortunately this led to a painful absence of poetry in this musically and theatrically over-blown production.

McVicar, as a good director thinks he should, attempted to make a dramatic whole, over-laying a larger mood or concept — the horrors of the Napoleonic wars. Il trovatore is far less than a national or social tragedy, and these larger horrors were quite pale, indeed unnoticeable beside the vicious personal dramas of Verdi’s characters. To the hopeless task of imposing a dramatic unity McVicars and his designer Charles Edwards developed a revolving set that could instantly move from one locale to another, one story to another, with no time for the Verdi’s moods to dissipate and then radically transform themselves. Put this together with the pushed-to-the-hilt conducting of Luisotti and it became opera that hit below the belt.

The performance on September 19 was beamed simultaneously to the digital scoreboard of AT&T ball park where a reported twenty-five thousand people converged to participate in this contest of who could sing loudest. More than opera, Opera at the Ball Park is a San Francisco happening that entices just about everyone to join in the sport of opera, if not the art of opera.

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):