Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

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.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

OPERA TODAY ARCHIVES »

Reviews

Rigoletto at the Verdi Festival [Photo by Giuseppe Cabras/New Press Photo courtesy of Teatro del Maggio Musicale Fiorentino]
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.

Giuseppe Verdi: Rigoletto, Il Trovatore and La Traviata

Verdi Festival, Parma

Above: Rigoletto at the Verdi Festival

All photos by Giuseppe Cabras/New Press Photo courtesy of Teatro del Maggio Musicale Fiorentino

 

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.

TROVATOREmmf05.gifScene 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.

TROVATOREmmf03.gifScene 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.

Giuseppe Pennisi


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.

Rigoletto

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.

Il Trovatore

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.

La Traviata

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.

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):