30 Oct 2009
Verdi's ”Trilogy“ at Parma
For Italy’s opera community, October is Verdi’s month. The composer was born near Busseto (now part of Parma Province) on October 10, 1813.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
For Italy’s opera community, October is Verdi’s month. The composer was born near Busseto (now part of Parma Province) on October 10, 1813.
Parma devotes the months to a major Festival, with other activities in nearby towns. Parma’s Verdi Festival aims at producing, by 2013, a boxed set of Teatro Regio DVDs with all Verdi’s operas in a special edition.
In Florence, the Teatro del Maggio Musicale Fiorentino produced “the big three” — Rigoletto, Il Trovatore and La Traviata — heard together on three successive nights. These were all entirely new productions by a young team, specialists in low cost but innovative work. This festival, a co-production with the elegant, classical Teatro Romolo Valli will continue in Reggio Emilio, “Verdi country”, but will not be heard in Parma.
Scene from Il Trovatore
Prices were quite low by European standards. The house was sold out in the first week of bookings, proceeds reaching € 600.000, about two thirds of the cost. As comparison, ticket sales in Italian houses cover, on average, about 12% of production costs. Nearly 25% of the audience was made up of young people under 26. Usually, the average of the audience is around 55 in Italian opera houses. For many of them, it was the first time they’d been in an opera house so they looked enthralled.
Ripa di Meana and his team (Edoardo Sanchi, set design, Silvia Aymonimo costumes, Guido Levi lighting). Guido Levi in charge of lighting.see the three operas as a single piece of musical theatre in three parts, viz. Rigoletto as a dark introduction in various shades of black and grey, Il Trovatore as a fantastic tragedy in blue and red, and La Traviata as a flowery dream.
This Rigoletto is “noir” rather than a dark introduction to the cycle. The entire plot is played in a bleak night. Very simple elements on the huge stage of the Teatro del Maggio Musicale:a movable wall squeezing the protagonists in a deadly tie, an oversized period car (a 1940s Buick?) where the Duke consummates his orgies, a small white doll house for Gilda, and old boat on the Mincio for the final scene. It is a tragedy without any glimmer of hope, not even in Caro Nome, or in the Love Duet.
Stefano Ranzani’s baton and the Maggio Musicale Orchestra (one of the very best orchestra in Italy for both opera and symphony ) were perfectly in line with this reading of the opera. Ranzani emphasizes the C flat and the D flat so that even the orchestra emanates a bleak color and atmosphere. Alberto Gazale was an excellent Rigoletto both dramatically and vocally and had a superb partner in Desirée Rancatore as Gilda; the opening night, (October 3rd), at the audience’s request, they had to encore the final scene of the second acts (“Sè, Vendetta, Tremenda, Vendetta”). It was harder to judge Gianluca Terranova who was called at the last moment to replace James Valenti as the Duke. He is a generous tenor, with an excellent acute and a strong volume, but uncertain phrasing — probably because he had to jump in the role without any rehearsal.
The following night Il Trovatore was played to a full house. On stage, there were no castles, no cloisters, no prisons, just a large early 20th century elegant living rooms with blue walls and a shocking red pyre (when required) or arches for the second act ‘s convent. However, the Count and Manrico (and their retinues) are in Medieval armour, whilst Eleonora, Azucena and the others in modern attire. The heightens the timeless reading of a plot where only Azucena is the character with psychological development. The others are stereotypes, almost a pretext for their arias, duets and concertatos. Some of the audience did not appreciated this interpretation of Il Trovatore, but at the end the applauses submerged the boos. Massimo Zanetti offered a carefully discreet conducting — in Il Trovatore the orchestra is mostly a support to the singers.Scene from Il Trovatore
Juan Jesùs Rodrìguez, Anna Smirnova and Stuart Neill are well known serious, experienced professionals. Stuart Neill gave a vibrant high C at the end of “Di Quella Pira” without attempting to sustain it too long. The real surprise was the young Arkansas soprano Kristin Lewis; a true soprano assoluto with a very large extension, a pure emission, an excellent coloratura and the skill to go up quite naturally to the highest tonalities and go down, equally naturally, to the lowest. She lives in Vienna and sings mostly in Europe. It is easy to foresee that she will go far.
La Traviata had a single set: a large Art Nouveau living room with camellia flowers on the wall paper as well as in many vases and pots. Lighting provides various shades of green and of white on the walls. An oversize sofa dominates Violetta’s apartment in the first and third act; furnished in turn of the century style. The dreamy atmosphere is already in the introduction when Violetta is on stage longing for a bourgeois family life. But she really lives a Baudelaire’s environment where we nearly smell opium.
Conductor Daniele Callegari slowed the tempos gently — the performance lasts slightly longer than three hours, with two intermissions — in order to gently heighten the dreamy atmosphere.
Andrea Rost proved that her vocal instrument is still perfect even though quite a few years have elapsed since the seasons when she was the major star of La Scala . Her singing was passionate; she did not circumvent any of the traditional virtuoso, added (over the centuries) to Verdi’s original writing such as the B flat at the end of “Sempre Libera”. Saimir Pirgu is young (28 years old), and athletic. His Libiamo requires acrobatic skills. He is good looking; and his voice has thickened in the last couple of years. He is now a perfect Alfredo, especially for his tender phrasing. He should resist the temptation to take on tenore spinto roles, but he would be probably excellent in many Massenet and Gounod parts. Luca Salsi is a good Giorgio Germont but maybe too young for the role. It is not clear whether Saimir Pirgu’s Germont senior is just an old-fashioned Provincial country gentlemen or a hypocrite. Nonetheless, on a Sunday matinee, the audience was enthusiastic, applauding during the performance.
Production Staff and Cast
Franco Ripa di Meana, director. Edoardo Sanchi, sets. Silvia Aymonino, costumes. Guido Levi, lighting. Orchestra e Chorus del Maggio Musicale Fiorentino. Piero Monti, chorus master.
Stefano Ranzani: conductor.
Gianluca Terranova:James Valenti; Shalva Mukeria: Il duca del Mantova; Alberto Gazale: Rigoletto; Désirée Rancatore: Gilda; Konstantin Gorny: Sparafucile; Chiara Fracasso: Maddalena; Giorgia Bertagni: Giovanna; Armando Caforio: Il Conte di Monterone; Roberto Accurso: Il Cavaliere Marullo; Luca Casalin: Matteo Borsa; Andrea Cortese: Il Conte di Ceprano; Miriam Artiaco: La Contessa di Ceprano; Vito Luciano Roberti: Usciere di corte; Elisa Luppi: Un paggio.
Massimo Zanetti: conductor.
Juan Jesús Rodríguez: Il Conte di Luna; Kristin Lewis: Leonora; Anna Smirnova: Azucena; Stuart Neill: Manrico; Rafal Siwek: Ferrando; Elena Borin: Ines; Cristiano Olivieri: Ruiz; Alessandro Luongo: Un vecchio zingaro; Fabio Bertella: Un messo.
Daniele Callegari: conductor.
Andrea Rost: Violetta Valéry; Milena Josipovic: Flora Bervoix; Sabrina Modena: Annina; Saimir Pirgu: Alfredo Germont; Luca Salsi: Giorgio Germont; Aldo Orsolini: Gastone; Francesco Verna: Il Barone Douphol; Gabriele Ribis: Il Marchese d’Obigny; Michele Bianchini: Il Dottor Grenvil; Leonardo Melani: Giuseppe; Salvatore Massei: Un domestico; Pietro Simone: Un commissionario.