08 Jan 2010
Quality opera just round the corner
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
Typically seating 200 to 600, offering reduced seasons of just a few popular titles, hosting strolling companies and partly drawing from semiprofessional forces as to orchestras and choirs, they worked as an efficient low-entry circuit nationwide, so that young talents might be discovered and acquire stage experience, while mature professionals could age gracefully while waiting for retirement.
That pattern went nearly lost during the following decades, as growing travel opportunities on one side, and multimedia diffusion of grand opera productions on the other, compelled many a minor house to shut up shop. However, part of it is resurfacing in a more sophisticated form. Aware of unavoidable competition from opera DVDs and cheap live beaming in neighborhood cinemas, provincial opera theaters now reopen under the aegis of local Councilors for Culture and Education, putting a premium on artistic quality rather than on business, albeit within the constraint of limited public budgets.
Padua’s Teatro Comunale, named for Giuseppe Verdi, is one such example. “Less is more” is the motto for this small but savvy house that offers two productions a season, with fashionable directors, elegant but essential sets and emerging musical talents from the world over. Coproductions with its peers in the area, Rovigo and Bassano del Grappa, multiply the impact and grant Padua denizens the experience of live opera just round the corner — for ludicrous investments. This lovely production of Trovatore, for example, did cost the local taxpayer a mere Euro 105,134.06 — all included.Anna Smirnova as Azucena
It updates the action from Medieval Spain to some unspecified episode of modern class warfare, or, according to the director’s notes, to the days of Resistenza, the anti-Nazi guerrilla in Italy during the 1940s. While the consistency of this metamorphosis remains questionable under several viewpoints, it allows director Denis Krief — in charge of costume design as well as of sets and lighting — to contrast the rival parties by outfitting Count di Luna and his troopers in military uniforms resembling an early version of today’s Italian Polizia di Stato and Manrico’s forces (including the hard-working Gypsies) in casual civilian clothing. Simple, clear and low-budget enough. Both Leonora and her lady-in-waiting Ines wear elegant evening gowns befitting their social rank; as to Azucena, she stands midway between a punk star and the German diva Brigitte Helm featuring the Whore of Babylon in the 1927 cult movie Metropolis.
Even though the stage is rather large, Krief uses the space well and moves his people within the framework of a gigantic book, whose wooden pages, around 5.50 meters tall, are meant to remind that Verdi’s gloomy narration is both historic and a fairy tale. Their diversely carved surfaces, turned by the stagehands after each scene, also provide an ever-changing enhancement to the hall’s acoustic. Sound wizardry through a frugal technology not involving any electronic equipment.Vitaliy Biliy as Conte di Luna, Walter Fraccaro as Manrico and Kristin Lewis as Leonora
Conductor Omer Meir Wellber clearly appreciates how fine an orchestrator Verdi was, as I heard many woodwind colors that often go overlooked, while the strategic role of the offstage choir and band was given due prominence. The young Israeli maestro, still in his late twenties, is a wonderful talent. His debut at Padua, in late 2008 with Aida, got him no less than the Toscanini Award from the Italian association of music critics. A similar story to Kristin Lewis’, a budding soprano from Little Rock, Arkansas, whose appearance as Aida on said production won her a row of international invitations for the same role. From her first phrase as Leonora she gave the impression of an almost ideal Verdian performer — indeed her ample, soft-grained lyrical tone and generous chest notes made her singing the delight of the evening.
As Azucena, the Russian mezzo Anna Smirnova impressed with her vast range of vocal color and dramatic accents of uncommon intensity. Ferrando, a somewhat perfunctory character who opens the opera by explaining the background that sets the plot in motion, then practically disappears, was impersonated by Roberto Tagliavini. With his big, solid voice and strong stage presence, he offered a preview of the vocal treasures he has in store, leaving me with the desire to hear more.
The two leading men, tenor Walter Fraccaro as Manrico and Ukraine’s baritone Vitaliy Biliy as Count di Luna, are both good singers who interpret their roles with much ardor. Both have some dramatic shortcomings, though. In Biliy’s case the problem lies in acting. Even though he’s tall and commands the stage as a military leader should, his gestures are stock, failing to convey the character’s moments of doubt, brief repentance, and final desperation.