Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

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):