Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

José Cura as Stiffelio [Photo by Ken Howard courtesy of The Metropolitan Opera]
18 Jan 2010

Stiffelio at the MET

Stiffelio was composed just after Luisa Miller — an opera that has had little trouble holding its own in the repertory — and just before the magic trio of Rigoletto, Trovatore and Traviata, the first Verdi operas to take their immediate place on the stages of the world and hold them without a break from that day to this.

Giuseppe Verdi: Stiffelio

Lina: Sondra Radvanovksy; Stiffelio: José Cura; Stankar: Andrzej Dobber; Raffaele: Michael Fabiano; Jorg: Phillip Ens. Chorus and Orchestra of the Metropolitan Opera, conducted by Plácido Domingo. Performance of January 14.

Above: José Cura as Stiffelio

All photos by Ken Howard courtesy of The Metropolitan Opera

 

You can’t say the composer was at the height of his powers, because he got better still. But there are stumbling blocks along any path to greatness, and Stiffelio long appeared to be one of them.

Verdi had great hopes for the piece. He was gradually renouncing the hackneyed traditions, seeking out new ways of expressing drama and new sorts of drama for Italian opera to express. A play about the love life of an evangelical minister — a married priest — struck him, as it would strike any discerning Italian of the day, as deliciously original — unfortunately, the Italian audience of 1850 simply found it weird. The minister in question, Stiffelio, is not only married, he’s the lead tenor in an Italian opera — stranger still. His wife has been seduced by a bounder — which means, in any Italian opera, the tenor ought to kill the fellow and perhaps his wife as well. The audience expected no less — on the stage — though in private life, even then, married couples often simply agreed to live apart with their subsequent partners and sometimes, in Verdi’s time and circle, managed to divorce. But Stiffelio, as a man of the cloth, much as he might want to kill, cannot do so. In the end, he cannot even fail to forgive his wife, on the advice of Jesus in re the matter of the woman taken in adultery and casting the first stone. The multiple ironies were precisely what tickled Verdi and led him to compose Stiffelio — but they went too far for the Italians, even the sophisticated audience of Trieste (polyglot Austro-Hungarians, not peasants). The opera failed. Verdi revised the score as Aroldo, but that only removed the priestly tang that made the opera interesting to begin with.

Stiffelio, says Julian Budden, is “worthy to stand beside its successor,” Rigoletto. Not exactly. Stiffelio’s a sturdy piece, full of attractive numbers and fascinating scenes, great fun for any lover of Verdi — but it is deeply flawed. Verdi threw out two early acts of the play on which he based the opera, and the personality of his villain went with them. The heroine’s motivations for her lapse are never clear either — Verdi focuses on her morbid regret. Stiffelio is the only rounded character, and him too we see only from the outside, never examining his own feelings — as Rigoletto does, and Violetta, and Otello, and King Philip, and even the Count di Luna and poor Master Ford. We see Stiffelio is torn, we feel his pain — but Verdi doesn’t prove he is worth our comprehension. The new musical language that would suit this new sort of drama did not come to him — he was still inventing it.

The opera, then, is rough-hewn — vigorous but shallow, workmanlike. Rigoletto, in contrast, is nothing of the sort — each of its pieces fits into place as tightly as a jigsaw puzzle, the characters tell us exactly as much as we need to know to care about their fate (or dislike them intensely), and yet the music is never businesslike for want of beauty or beautiful without attending to business. Stiffelio is an interesting experiment; Rigoletto is a miracle.

STIFFELIO_Cura_and_Radvanov.gifJosé Cura as Stiffelio and Sondra Radvanovsky as Lina

But good Rigolettos — and even decent Luisa Millers — are so frequent in any Verdi-lover’s life that a run of Stiffelio makes a pleasing variation. The Met’s production of Stiffelio was originally given to permit Plácido Domingo to add another tenor lead feather to his well-furbished cap. That ensured a sold-out run, and the sets were handsome and distinguished enough to attest to Domingo’s prestige, now that he merely conducts the opera. They are handsome, gaunt dark-wood veneers and furnishings, a romantic graveyard with ample space for duels, a stormy sky, a church somehow gothic on the outside (Act II) but eighteenth century within (Act III). David Kneuss has revised Giancarlo del Monaco’s direction, to the production’s decided benefit — there is now something like human psychology on the stage. (Del Monaco’s showy but often absurd stagings should be manhandled whenever possible.)

Sondra Radvanovsky, who has impressed me as Luisa Miller, Leonora (Trovatore) and Elena (in Vespri Siciliani), is a technically accomplished singer with a Met-sized voice; too, she is a slim, handsome woman and an ardent actress — a pleasant change in this role from the bovine Sharon Sweet. Radvanovsky’s Lina is very fraught, on the edge of depressive hysteria, which is as Verdi wrote her. Her voice has an interesting vibrato and expresses passion well. But there is something about its color that does not give pleasure. It is not a voice to relax with. She does not lack body or sensuality, but she lacks velvet — there is a metal, clash, a hardness, that makes her appearances thrilling but never ravishing.

José Cura sings Stiffelio. He is a pupil of Domingo’s and, like him, a conductor, and like him, a tenor with a baritonal approach. This suits Stiffelio better than most Verdi tenor roles — the part sits low, the high lines come only at emotional climaxes, and Cura does emotional climaxes well. His meditative moments are pleasing, his more passionate ones edge into growling lack of clarity. He does not always thrill at moments designed to thrill.

STIFFELIO_Dobber_as_Stankar.gifAndrzej Dobber as Stankar

Andrzej Dobber sings Stankar, a stock Verdi aggrieved father figure. When Juan Pons (in the Eve Queler Aroldo) sang this music, in the word “vergogna,” “shame,” you could hear the bile boiling up in his throat. Dobber does not attain such realism, and either he or Maestro Domingo got lost in his great Act III aria, but he sang with a clean, unforced line and a fine though dry command of Verdian legato. You can’t do Verdi without decent Verdi baritones; the world seems to be suffering a shortage, and Dobber generally holds his own. Phillip Ens sang the rich if unvaried bass role of Jorg most impressively, and Michael Fabiano made what could be made of the half-sketched-in figure of Lina’s caddish seducer, Raffaele.

For students of Verdi, the orchestration of Stiffelio gives the opera much of its interest. Maestro Domingo seemed to have trouble holding things together during the overture, but thereafter, especially in the concertato movements of the score and also in the rich scene-painting Verdi bestows on the graveyard scene, he generally kept things together and brought out the charming shades of this curious score. Still, singers sometimes had trouble following him and I remain unconvinced that conducting is among his many gifts.

John Yohalem

I returned to Stiffelio for the performance of January 19, the only cast change being the appearance - in her first major role at the Met - of Julianna Di Giacomo as Lina. Di Giacomo has a sweeter, more well-rounded soprano than Radvanovsky; if somewhat less powerful, still pleasurably audible over orchestra and ensemble. She is a young singer (early thirties), and lacks the full vocal body for later Verdi heroines just yet, but she has the intensity and the grace with ornament that his earlier roles demand. A short woman, on the plump side, she gave evidence of strong theatrical instincts, standing up for herself when Stiffelio suggests divorce, and sobbing on the ground at the conclusion of the opera in emotional exhaustion rather than stretching herself in theatrical supplication as Radvanovsky appeared to do. I had heard her before only in I Due Foscari for Opera Orchestra, an exciting night. She had a great success in Stiffelio and I would be eager to hear what she could do with Amelia Grimaldi, Luisa Miller, or the more dramatic roles of Donizetti.

Cura’s Stiffelio seemed muffled to the point of flatness, generally below the note, throughout Act II on this occasion, though his voice brightens at the top of his range. Dobber’s Stankar, his singing forceful and beautiful, gave the most constant pleasure of the night - plainly he and Maestro Domingo had sat down since last Thursday to work out the timing of that double aria. —J.Y.

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):