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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

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):