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

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

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):