Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

OPERA TODAY ARCHIVES »

Reviews

Ruxandra Donose as Concepcion [Photo by Johan Persson courtesy of the Royal Opera House]
25 Oct 2009

Ruxandra Donose stars in L'heure Espagnole at the Royal Opera House

Ruxandra Donose sings Concepción in Ravel's L'heure Espagnoie in a double bill with Gianni Schicchi at the Royal Opera House. Concepción is an unusual personality, so Miss Donose's characterization is interesting.

Maurice Ravel: L'heure Espagnole
Giacomo Puccini: Gianni Schicchi

For more details on the *Gianni Schicchi* and* L'heure Espagnole *double bill, please see the Royal Opera House web site.

Above: Ruxandra Donose as Concepcion

All photos by Johan Persson courtesy of the Royal Opera House

 

L’heure espagnole is a rapid-moving farce, and Concepción is the pivot around whom all the action revolves. It’s a demanding role for she’s on stage all the time, carrying the action. “It takes a high level of energy to keep going like this for nearly one hour”, says Miss Donose. “I think it’s wonderful how Ravel gets the orchestration to create vivid details like the cuckoos in the cuckoo clocks,it’s so funny. That’s why this opera is done so often in concert, it lives through the music”. She has sung the role in two separate concert performances, but this Royal Opera House production is fully staged, which emphasizes the movement and drama in the plot.

“Concepción has only one hour in the week when her husband is away, so she has to squeeze all her frustrations into that time”, says Miss Donose, “She’s doesn’t get any attention from her husband, but when she tries to relieve her frustrations, she gets all this unplanned attention from other men so she’s frustrated again”.

Everything spins around Concepción, rather like the clockwork mechanisms all round her. “Timing and blocking mean a lot in this production. On the very first day, I was told that this production, by Richard Jones, is very difficult, because there are lots of very precise details and they might take a lot of time to get right. Actually, that went smoothly, but it was interesting coming to the character from outside to inside. There are gestures that don’t come naturally to me, but are part of this Concepción, so I have to make them my own. It’s a process like putting on a costume, you put on those hundreds of small details so they come naturally to you.so you slip into the role.and become the character”.

Because Ravel’s music is so precise, “The ensemble is very important”, adds Miss Donose, “the other characters are much more than caricatures. The poet Gonzalve (Yann Beuron) can’t stop making poetry, and the banker Don Inigo Gomez (Andrew Shore) is solid, like he’s stuffed with money. And the muleteer Ramiro, played by Christopher Maltman, is a strong fellow, who doesn’t do small talk. The clocks aren’t as heavy as they look but they’re bulky and Maltmann has to carry them up and down when he’s singing! ”

“Torquemada (Bonaventura Bottone) lives only for his clocks, they are his only passion, but Concepción is passion, and so direct” ! Just as Torquemada prefers objects to people, Concepción uses people as objects to get what she needs. “Husband and wife are on completely different planets. Concepción is very terre à terre, as the French say, she’s very down to earth so she’s extremely direct. She’s unhappy but determined to get what she needs. In this production, she’s like child who wants a toy and stamps her feet if she can’t get it”. Concepción’s obsessiveness is not so different from Torquemada’s after all. “I’m not like that”, says Miss Donose, “so all the detailed gestures helped me understand what to do with this character.who is much more single-mined and direct than most women”.

HEURE-743-MALTMAN AS RAMIRO&DONOSE AS CONCEPCION-(C)PERSSON.pngChristopher Maltman as Ramiro and Ruxandra Donose as Concepcion

Ruxandra Donose’s starring role in L’heure Espagnole reflects her status as one of the more expressive personalities among the rising generation of mezzo-sopranos. She’s reached the stage where she’s so technically assured that she can focus on developing the characters she portrays. She’s sung Marguerite many times, including with Nagano and Dutoit, and has done many Carmens, Charlottes and even a few trouser roles. Among her favorites though are the Composer in Aridane auf Naxos and Cenerentola. In the near future, she’ll be singing a lot of Mozart, Singing these roles is enriching. “It’s a great experience to embody someone you are not yourself, but can create. For a few hours you have a chance to live another life”.

Anne Ozorio

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):