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

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

OPERA TODAY ARCHIVES »

Reviews

Luca Pisaroni as Figaro [Photo by Marty Sohl courtesy of The Metropolitan Opera]
04 Dec 2009

Le Nozze di Figaro at the MET

The best news about the Met’s eleven-year-old Jonathan Miller production of Le Nozze di Figaro is that it has been restaged by Gregory Keller, more tautly spun, many elegant jokes or character moments inserted, several idiocies discarded and with plenty of room remaining for singers with a flair for it (such as Luca Pisaroni and Isabel Leonard) to invent comic business of their own.

W.A. Mozart: Le Nozze di Figaro

Susanna: Lisette Oropesa; Countess: Annette Dasch; Marcellina: Ann Murray; Cherubino: Isabel Leonard; Barberina: Ashley Emerson; Figaro: Luca Pisaroni; Count: Ludovic Tézier; Don Bartolo: Christophoros Stamboglis; Don Basilio: Greg Fedderly. Conducted by Fabio Luisi. Metropolitan Opera, performance of November 30.

Above: Luca Pisaroni as Figaro

All photos by Marty Sohl courtesy of The Metropolitan Opera

 

I’m particularly pleased that the ring is in its proper place at the final curtain. Remember the ring? (as Anna Russell would say.) This ring is the diamond the Count gives Susanna in the dark in Act IV, as down-payment on her imminent seduction, never realizing that it is not Susanna at all but his own wife on whose finger he has placed it. Subsequently, at the end of the opera, when all stratagems are unveiled, the Countess shows him the ring is on her finger — and only then is he forced to face, and publicly repent, his follies — which she forgives — appropriately concluding this longest and most sublime of buffo operas. In Miller’s original staging — in keeping, perhaps, with that gentleman’s professed disdain for sentimental tradition — she did not show her husband the ring, and he had no reason to believe she was the woman he had wooed in the dark. In other words, though we knew who was who, the Count never found out and we never knew what or whether he was repenting. The heavenly ending became acrid, uncertain, irritating. There was no resolution. Why bother? Why bother ending the music in the proper key? Why not stop five bars short at some other note? Because all things are synchronized here, as Mozart and da Ponte designed them to be, and the palace of Aguasfrescas becomes an idealized version of our own imperfect world, that’s why. Anyway: the ring is now on the right finger, shown to the right man at the right moment, and all’s that much righter with the world.

Another nice touch: Susanna and Marcellina symbolize their new friendship when they bump heads while heading out the same door in Act III — and we are reminded of their feud to the death back in Act I — but this time, as allies, they burst into giggles and squeeze through arm in arm. The effect may be borrowed from Verdi’s Falstaff (and he set it to music there), but it wasn’t an original bit with him either: Figaro, like Falstaff and so much great humane comedy, is about irreconcilables who forgive and reconcile. The audience also loved it when Susanna demonstrated the way a “lady” sashays, and “masculine” cross-cross-dressed Cherubino imitated her — but the audience (and I) loved that silly flounce when my grandmother took me to my first Figaro forty years ago.

Whoever is running the surtitles this year, by the way, is clever enough to know when to let them go dark — so the audience is obliged to look at the stage — and the laughs may come from the activity going on there — and they do.

I wish I’d liked the music-making of this revival half as much as I enjoyed the mugging. None of it was less than major house quality, but few moments transported me. Ah, where have they gone? Those sweet moments of joy and pleasure?

Oropesa_Susanna_Met.pngLisette Oropesa as Susanna

Luca Pisaroni, a lithe, handsome fellow, spry as an acrobat and very much the self-important barber of Seville, has a dark and pleasing voice, suave musicality, and his every word means something — or two things — sometimes three. It is not, however, a voice, on this showing, of supreme power or authority. He was born to please but he does not overwhelm. Still: This was a performance of star quality if not incandescent gleam.

Lisette Oropesa’s light, pert soprano and light, pert performance seemed too American, sassy and shallow, for Susanna, this bride of sense but also considerable sensibility. Susanna experiences much of the pain that gives depth to true comedy, when confused by the Count’s advances, or upset by Figaro’s apparent betrayals. Oropesa’s voice lacks the heart-stopping thrill, the passion of a girl on the brink of true consummation, that the finest Susannas bring to the part. “Deh, vieni, non tardar” was a showpiece, prettily sung — but this is song that must have feeling in it. Oropesa is not a leading lady yet.

Leonard_Cherubino_Met.pngIsabel Leonard as Cherubino

Cherubino got the second biggest hand of the night, after Figaro’s, and Isabel Leonard, quite the most boyish, adolescently awkward Cherubino of my experience, earned that hand with her delicious acting. Her singing was slightly less on target, a bit under pitch in “Non so piú,” but I hope she can build on her good will to give us more feeling in the arias in time.

Annette Dasch has a sizable, attractive voice, and if a run or two got away from her during her arias, that is regrettably normal. She played the cut-up rather than the grand Countess (Countesses are usually one or the other), and she was funny, which suits most of this production, but one missed aristocratic bearing, vocal and otherwise. I missed, too, Hei-kyung Hong’s graceful trick of reclining into visible reverie while singing “Dove sono” — but it probably isn’t easy to sing persuasively in that position if one is not Madame Hong. As with many debutante Countesses lately — and a great many sopranos have made their house debuts in that role in this production — I sensed that Dasch was giving it her best shot but would rather have been singing something else. (Her bio mentions performances as Elettra, Donna Anna and Verdi’s Desdemona, which are all within the Countess’s fach.)

Ludovic Tézier made a colorless Count, lacking both the brutality of Dwayne Croft and the dangerous attractiveness of Mariusz Kwiecien. The Count must have authority, we must believe he is terrifying — at least, that the rest of the household are terrified of him — or none of their desperate plots make much sense. In a production of Beaumarchais’ play some years ago, Christopher Reeve played the Count, looking as majestic as Apollo — and then tripping over his own feet in pratfalls all the funnier for their contrast with his affect. But as soon as he recovered and stood commandingly upright again, we were once again stirred to reverence and fear — and that should be our feeling for the Count. Tézier was gentlemanly (and those damned scene-stealing hunting dogs are happily gone), and the fioritura in his aria were graceful if not quite angry, but he seemed too hangdog to be a threat to anyone. Pisaroni’s Figaro didn’t have much respect for him, so why should anyone else?

Christophoros Stamboglis, a replacement, sang Don Bartolo. He sang the part effectively and played it to the hilt, slipping nimbly into the many ensemble scenes. Greg Fedderly sang Don Basilio well but with a bit — how shall I put it? — too strong a flame. This is partly the fault of the costume — it’s hard to be masculine in lavender satin, with pink stockings and a red wig. Ann Murray made rather a shrill and wobbly harridan of Marcellina, but was most affecting on finding her long-lost son. Tiny Ashley Emerson brought an impressive sweetness to Barberina’s lines.

Fabio Luisi led a brisk, well-paced account of the score — nothing dragged in this long evening of a mad day.

John Yohalem

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):