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 sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

OPERA TODAY ARCHIVES »

Reviews

Respighi: La Pentola
22 Jan 2010

Respighi — Works for solo voice and orchestra

While Ottorino Respighi (1879-1936) is best known to modern audiences for his colorful programmatic works associated with Italian locations, his vocal music is also engaging.

Ottorino Respighi: La Pentola Magica, La Sensitiva, Aretusa.

Damiana Pinto, mezzo soprano, Orchestra Sinfonica del Teatro Massimo di Palermo, Marzio Conti, conductor.

CPO 777-071-2 [SACD]

$16.99  Click to buy

Among his works for solo voice and orchestra, are settings of texts by the English poet Shelley, Aretusa [“Arethusa”] (1910-11), and La Sensitiva [“The Sensitive Plant”] (1914). (Respighi composed a third piece with a text by Shelley, Il Tramonto [“The Sunset”], a work with string quartet, even though it is sometimes performed by string orchestra, but it is not included in this recording.)

This recording of La Sensitiva is an engaging piece because of the florid vocal line and the evocative accompaniment. The sonorities are reminiscent of some of his tone poems, with solo wind timbres and richly scored strings. As full as the orchestra can be, Respighi never allows the scoring to obscure the voice, and in this recording Damiana Pinti offers a fine reading of the text. Her voice is resonant and textured, as the singer uses various shadings to color the line. As clear as her middle and lower registers are, Pinti has a clear and even upper range, which serves the piece well. Moreover, in the sustained passages, Pinti’s tones have a fine shape, which underscores her carefully enunciated text. While Respighi is known for his instrumental piece, those familiar with his music may wish to hear this vocal setting, which serves Shelley’s text well, which is served well through its translation into Italian. Yet the accompaniment not only supports the voice in this piece, but reinforces the mood and sense of the text. If some aspects of Respighi’s programmatic music emerge in this work, it is not unwelcome, but certainly another means of appreciating this extended piece for solo voice and orchestra.

A similar piece, Aretusa, is equally colorful, as the orchestral accompaniment serves to reinforce the meaning of the text. These somewhat programmatic gestures offer some contrast to the relatively declamatory vocal line. Pinti offers as expressive a reading of Aretusa as she does in La Sensitiva. Here, here the sometimes rich and dark shadings are impressive, and Pinti is good to shape the line through her pacing and dynamics; likewise, Marzio Conti provides solid leadership of the orchestra. With music like this, where the accompaniment intersects the vocal line, the clean entrances and precise releases are crucial to executing the pieces well.

The other work on this disc is the ballet La Pentola Magica (1920), one of the composer’s five ballets, the best known being La Boutique Fantasque, (1918), which is based on music originally composed by Gioacchino Rossini. La Pentola Magica, translated as “The Magic Plot” is work in two parts, which conveys a fable about a Russian princess who longs for a handsome young prince to relieve her of her boredom. Despite attempts to entertain the princess, she is enchanted by the song of a Russian peasant. The peasant dances around a purportedly magic pot, and the princess wants it, since it appears to have supernatural properties. Ultimately the peasant will surrender the pot for kisses from the princess. The court astrologer shows the czar what is happening, and he throws a shoe at his daughter. Yet after she repulses the peasant, the peasant reveals himself as a handsome prince, and the work ends with the princess weeping for her loss.

La Pentola Magica contains some engaging music, not only in its evocation of the Russian court, but also in the entertainments for the princess, as found in the dance of the Armenian slave. Respighi used the opportunity to create some colorful episodes. While Respighi makes use of chromaticism, his harmonic structures remain solidly tonal; dissonances occur, sometimes to offer some color, but the music is never atonal.

All in all, the three pieces found in this recording offer a different side of Respighi than found in the more familiar tone poems about Italian subjects. While it is possible to find some contrast to those tone poems in the suites of Ancient Airs and Dances, the settings of poetry by Shelley are good examples of Respighi’s vocal writing. At the same time the ballet La Pentola Magica demonstrates yet another side of the composer’s musical imagination, which is given a convincing interpretation by Conti and the Orchestra Sinfonica del Teatro Massimo di Palermo. The sound on the CPO recording is clear and distinct, and this supports the colorful scoring that characterizes Respighi’s music.

James L. Zychowicz

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):