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

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

OPERA TODAY ARCHIVES »

Reviews

Nicholas Coppolo and Hanan Alattar [Photo by Richard Termine courtesy of Gotham Chamber Opera]
22 Jan 2010

Il Mondo della Luna (The World on the Moon)

A long time ago in a galaxy far, far away, around 1777, the Empress Maria Theresa used to visit Prince Esterhazy’s summer palace at Esterhàza, where there was an opera house fully equipped with stage machinery, leading singers, an orchestra, and a guy named Joseph Haydn to compose on cue.

Franz Joseph Haydn: Il Mondo della Luna (The World on the Moon)

Clarice: Hanan Alattar; Flaminia: Albina Shagimuratova; Lisetta: Rachel Calloway; Ecclitico: Nicholas Coppolo; Cecco: Matthew Tuell; Ernesto: Timothy Kuhn; Buonafede: Marco Nisticò. Gotham Chamber Opera at the Rose Center Planetarium, American Museum of Natural History, conducted by Neal Goren. Performance of January 20.

Above: Nicholas Coppolo and Hanan Alattar [Photo by Richard Termine courtesy of Gotham Chamber Opera]

 

Haydn is often considered the father of the symphony, the string quartet and the piano sonata, but he is seldom mentioned in an operatic context. That’s not because he wasn’t any good at it — he was often very good. But he was seldom consistently good at opera, and he never found — or sought, maybe — the sort of mature libretto that would display his talents as Lorenzo da Ponte displayed those of Mozart, Salieri and Martin y Soler. Haydn’s operas seem a series of amiable misfires with charming moments — but I’ve only attended seven of them, and none were his grand operas, Armida and Orlando Paladino, which may play differently.

As the operatic world scours forgotten and therefore fresh scores, Haydn, a familiar name, is bound to seem appealing even without Maria Theresa’s imprimatur (“Whenever I want to hear good opera, I go to Esterhàza,” she said, probably as much to goad the management of her court theater back in Vienna as to compliment her host). Haydn’s style is familiar to us, all modern opera singers being trained to perform Mozart, and the forces required are seldom large.

Carlo_Goldoni.gifCarlo Goldoni, librettist

Il Mondo della Luna, using a popular libretto by Goldoni that was set by everyone from Galuppi to Paisiello, is a typical buffo tale of a rich old fool, Buonafede (“good faith”), opposed to the marriage of his two daughters and their maid to the three impecunious men they love, with the sly twist that the old coot has a hobby: astronomy. One of the boyfriends, Ecclitico (“ecliptic”), is a charlatan astrologer who pretends to transport the old boy to the moon. Buonafede, presented to the lunar emperor, is dazzled by Lunatic mores and court etiquette (Maria Theresa probably loved this part), but he regrets his womenfolk are missing the fun. Quicker than you can say, “May the farce be with you,” they arrive! — beamed by transporter, one presumes. The emperor marries the venal maid, Lisetta, and his chamberlain and master of ceremonies wed the two daughters. Wedding hymns are sung in the Lunatic tongue. Buonafede is puzzled that the girls already speak it so well, and though furious when he learns he has been bamboozled, accepts the fait accompli. In the full libretto, he reflects philosophically that you really need to travel to get the right perspective on life back home — but the moral was one of Gotham Chamber Opera’s omissions.

Gotham has created one of the more dazzling entertainments of the New York season by presenting this nonsense in the Hayden Planetarium at the Museum of Natural History, replete with instrument panels, space suits (the elegant and witty costumes are by Anka Lupes), globular space helmets, acrobatic “moon nymphs” and above it all, on the 180-degree dome, shooting stars, exploding galaxies, shots of earth and the moon, and the wildest light show since psychedelia fell from fashion. Viewers of a certain age (mine) may recall The Saint in its heyday, but the music was better at the planetarium and the show a lot shorter. The whole run has sold out, and it’s hard to imagine anyone attending who would not gladly go again.

The one exception I would take is, in fact, to the evening’s brevity. Over-anxious not to bore, music director Neal Goren and director Diane Paulus may have left too much out. Over half the opera was omitted — on the grounds, Goren says, that the cuts were less than top-drawer Haydn. That may be true, and no one wants more secco recitative “dialogue” than we absolutely need, but confining most of the singers to one aria apiece means the characters are one-dimensional, silhouettes of slight interest or humanity. You cannot tell the sisters apart, for one thing — from the synopsis in the program, I’m not sure which one marries which lover — and you do not know or care if their feelings are sincere. In a farce, someone ought to want something sincerely or the crazy shenanigans aren’t as funny; there’s no contrast. You need Kitty Carlisle as a backdrop for the Marx Brothers.

In Il Mondo della Luna, Gotham goes for constant entertainment rather than letting the drama merely rest, at any point, upon the skills of the singers, the beauty of the often wonderful music. This is a current trend, and those of us who like singing may find that, fun as it is, it can go too far in an MTV direction. On the plus side, it sure was fun.

It would be difficult to single out any performer among the seven flawless players of this ensemble cast. Marco Nisticò seemed to be enjoying himself as the bubbling blowhard Buonafede, and he had the most to do, swinging hips as he ornamented his arias. Nicholas Coppolo gets special notice for being so slimy a phony as Ecclitico and then leaping seamlessly into the role of ardent lover to sing a rapturous duet with his Clarice (Hanan Alattar — or was it Flaminia, Albina Shagimuratova? Well, each one had an aria, and both were excellent). Rachel Calloway, as pert Lisetta, demonstrated the swagger of a chambermaid is exactly the right style for an empress. Timothy Kuhn sang an alluring love song to himself — director Paulus’s idea, not Haydn’s, but charming in context, and Matthew Tuell triumphed as the spunky valet who ascends to the lunatic throne. This was far and away the best all-around cast I have encountered in a Gotham production, each of them worthy at the very least of another aria or one of the omitted da capos. They were also all Lucy-ready farceurs — though a very little “disco” dancing in eighteenth-century costume goes a long way, and after an hour of it one wondered if director Paulus had run out of ideas or was simply bored by the characters. The Gotham orchestra played music that was always pleasant and sometimes heavenly.

Impossible to discuss the event and not mention Philip Bussmann, credited with Video and Production Design, who made a charming evening a spectacular one. And the Gotham team for dreaming this up, and the Museum of Natural History for recognizing a major opportunity when it came their way.

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):