Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Garsington Opera Announces Extended Season: 1 June to 30 July 2017

For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.

Glyndebourne Festival 2017: White Cube artist Rachel Kneebone to exhibit new work

New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

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):