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

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

OPERA TODAY ARCHIVES »

Reviews

Ashley Holland (Uin-Scî; standing) und Peter Sidhom (Cim-Fen; sitting), in background Marcus Hosch (Moderator) as well as Chor, Kinderchor and Statisterie der Oper Frankfurt [Photo by Wolfgang Runkel courtesy of Oper Frankfurt]
18 Dec 2009

Frankfurt’s ‘Medium’ Rarities

Encountering Frankfurt Opera’s staging of Leoni’s L’Oracolo and Puccini’s Le Villi, I was reminded of that old saw about the German weather.

Franco Leoni: L’Oracolo; Giacomo Puccini: Le Villi

L’Oracolo — Cim-Fen, Inhaber einer Opiumhöhle: Peter Sidhom / Bastiaan Everink; Uin-Sci, ein gelehrter Arzt: Ashley Holland; Hu-Tsin, ein reicher Kaufmann: Franz Mayer; San-Lui, Uin-Scis Sohn; Carlo Ventre: Ah-Joe, Nichte Hu-Tsins; Annalisa Raspagliosi / Barbara Zechmeister; Hua-Qui, Kindermädchen: Katharina Magiera.

Le Villi — Guglielmo Wulf: Peter Sidhom / Bastiaan Everink; Anna, seine Tochter: Annalisa Raspagliosi / Barbara Zechmeister; Roberto: Carlo Ventrez; Moderatoren: Ingrid El Sigai and Marcus Hosch. Chor und Kinderchor der Oper Frankfurt. Frankfurter Opern- und Museumsorchester.

Above: Ashley Holland (Uin-Scî; standing) und Peter Sidhom (Cim-Fen; sitting), in background Marcus Hosch (Moderator) as well as Chor, Kinderchor and Statisterie der Oper Frankfurt

All photos by Wolfgang Runkel courtesy of Oper Frankfurt

 

Don’t like it? Wait five minutes and it will change.

There is a good deal to admire in this double bill, not least of which is the rare opportunity to enjoy two seldom-performed pieces mounted by such a reputable company. However, too often during the evening, I found myself becoming engaged by a tender moment, or beginning to relish a powerful musical development…only to be interrupted by a crass directorial “improvement.”

There are really two separate productions going on here (See: “wait five minutes,” above). One is the relatively straight-forward and conventional telling of the musical drama in rather traditional and genuinely pleasing theatrical staging. Then there is a concurrent, wholly invented television studio experience that is part reality show. Part game show, part National Enquirer, and all colossally ineffective.

Not that I disapprove of the concept outright. Frankfurt Opera itself used this device to brilliant effect with its televangelical Rape of Lucretia two seasons past. What I object to is that director Sandra Leupold took a cheap, easy way out of having to deal with the (admittedly naïve) pleasures to be mined from the two operas at hand.

Hmmmm, how to make these curiosities palatable to today’s audiences? Hmmmm…I know, let’s tart them up with game show “Moderators”! The glitzily-attired actors Ingrid El Sigai and Marcus Hosch do what they can with these irrelevant creatures, but seemed quite self-conscious (maybe pre-occupied with the pay check they would at least be getting…)

The three blue-sequin-gowned Vanna White’s seemed to have wandered in from another show, waiting in vain for a vowel to be bought or a letter to be turned. But worst of all was the inconsiderate and considerable obstruction by the “cameramen” and “stage managers” who would interpose themselves between the soloists and the audience. No fooling I spent one touching soprano aria relegated to looking at a burly extra’s butt as he “televised” her performance to a giant on-stage screen…that…again, no kidding…had a sound delay! Looked like a badly dubbed movie on German TV.

Where the hell to look then? The viola section? The surtitles? The exit????

Heike Scheele’s set and costume design was at its worst in the utilitarian television studio which comprised the encompassing space for the shows. However, within the confines of the raised circle on which the actual operas were performed, there was much that was pleasantly colorful, representational, and traditional.

I especially found Mr. Scheele’s Chinese costumes for the Leoni to be character-specific and beautifully rendered; the rustic Puccini clothing was also quite delightful, although perhaps the tutu’d chorus nod to Giselle was just too over the top. I also appreciated the clever and appropriate scenic insets that he devised for both pieces,and the competent lighting from Joachim Klein. The show-within-the show, that is to say the actual operas, was often very agreeable.

The credit for that has to begin with the fine idiomatic playing elicited from the pit by conductor Stefan Solyom. He never once flagged in presenting these two (let’s be honest) weaker compositions with commitment and authority. He seemed to wring every bit of musical excellence he could from his orchestra, and kept the evening buoyant and forward-moving. He also ably partnered his hard-working singers. Matthias Koehler’s chorus, and Michael Clark’s children’s chorus were likewise also very well-prepared, but suffered the fate of being clumsily and busily deployed in this mess of a concept.

oracolo_HQ_18.pngMarcus Hosch (Moderator), Peter Sidhom (Cim-Fen), Ingrid El Sigai (Moderatorin), Katharina Magiera (Hua-Quî), Tobias Jantsch (Hu-Cî) and Chor, Kinderchor and Statisterie der Oper Frankfurt in background

While L’oracolo may have its confusing pseudo-Asian dramaturgy, any minor musical longeurs were glossed over with committed performances. As Cim-Fen (opium den owner) Peter Sidhorn may not have offered the most suave singing, but compensated with great presence, the same that could be said of his interpretation of Guglielmo (Le Villi). Ashley Holland’s mellifluous voice was arguably the finest performance in Chinatown, as the learned doctor Uin-Sci. Franz Mayer put his soft-grained, affecting instrument to good use as the rich tradesman Hu-Tsin and Katharina Magiera made the most of her brief moment as Hua-Qui revealing a gorgeous, creamy mezzo.

One of the reasons for this mounting had to be to showcase local favorites, Annalisa Raspagliosi and Carlo Ventre, both of whom were cast in both operas.

Ms. Raspagliosi has already had a big career with big credentials, not least of which was a happy association with the legendary Pavarotti. Here she is undertaking Ah-Joe and more notably Anna in Le Villi. The latter suits her gifts more than the former. At this point in her development, she reminds me of the great Renata Scotto for Anna also commands an unerring sense of projecting the text, effortlessly embodies the character at hand, and seems incapable of a musical false move.

villi_HQ_06.pngAnnalisa Raspagliosi (Anna) and Carlo Ventre (Roberto)

That said, like Renata of yore, she also is beginning to sound a bit like a supremely gifted lyric soprano who has ventured a bit too far into heavier territory (Tosca, anyone?). Her high notes still float, but not without some discernible effort. Her sense of line still commands, but not without a bit of gear-shifting here and there. And the vibrato has gotten a bit more, shall we say, generous? Still, she offers an assured assumption of these two heroines, is lovely as lovely can be, and her Frankfurt public adore her. And why shouldn’t they? In an era of pretenders to the throne, her singing is still a connection with Old World Glories.

Before the Puccini, tenor Carlo Ventre was announced as indisposed, something I had suspected during the Leoni where his vocalizing as San-Lui seemed a bit cautious with meslimas a bit labored. Once our indulgence was requested so he could continue as the second opera’s Roberto (and who the hell else knows the role?), Mr. Ventre actually sang with more assurance, and even with real abandon. He is a fine singer with a burnished tone, and if a few phrases were husbanded carefully and a few notes grew rough-edged, he not only gave a pleasurable account of his two assignments, but also saved the night!

Like with the German weather then, while I had a great time discovering these two operas in staged versions for the first time, and while I enjoyed so many of the components, I found myself waiting, nay wishing for a change for sunnier horizons. Were the staging to be re-imagined losing the television concept entirely, I can predict the remaining elements would make a far superior evening at the opera.

James Sohre

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):