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

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

A Winter's Tale: a world premiere at English National Opera

The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.

Wexford Festival Opera announces details of 2017 Festival

Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

Oxford Lieder Festival 2017: Gustav Mahler and fin-de-siècle Vienna

Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

OPERA TODAY ARCHIVES »

Reviews

Nino Surguladze as Dorabella [Photo by Richard Hubert Smith courtesy of Royal Opera House]
02 Feb 2010

Così fan tutte, Covent Garden

First seen in 1995, and here receiving its seventh revival, Jonathan Miller’s Così fan tutte has lost none of its power to unsettle and discomfort.

W. A. Mozart: Così fan tutte

Alfonso: William Shimell; Despina: Helene Schneiderman; Dorabella: Nino Surguladze; Fiordiligi: Sally Matthews; Ferrando: Charles Castronovo; Guglielmo: Troy Cook. Royal Opera. Director: Jonathan Miller. Revival Director: Daniel Dooner. Conductor: Julia Jones. Royal Opera House, Covent Garden, London. Friday 29th January, 2010.

Above: Nino Surguladze as Dorabella

All photos by Richard Hubert Smith courtesy of Royal Opera House

 

This is not a buffa trifle, which sends the audience home feeling amused and rather smug; indeed, discussing Charles Lamb’s description of the work as an ‘artificial comedy’, in the programme Miller himself notes that “within such as idiom the awkward improbabilities of the plot can be seen as a device that helps to make the opera more, rather than less, serious”.

Certainly, the visual impression created by the stark, but elegant, modern sets — scattered with a few throwaway allusions to the grand classical tragedies of Gluck — is one of coldness and aloofness. The ladies’ house is mid-refurbishment, and in such minimalist surroundings, with little to distract the eye or nourish the soul, it’s no wonder that the cast are enwrapped in solitude, absorbed by their mirrors, magazines and iPods. Having updated the original production, Miller cleverly uses such props to lighten the cynicism: Despina types the marriage contract on a laptop, and the ubiquitous mobile ’phones crop up in almost every scene — the sisters snap away with their cameras, Alfonso ‘calls a friend’ to summon a military drum roll, and a sweeping flourish on the continuo neatly serves as a tinkling ring tone.

Shimell_Cosi_ROH.gifWilliam Shimell as Alfonso

The uniformly accomplished cast certainly had the measure of the concept, and the acting was superb throughout. Relaxing into her glamorous boots, Nino Surguladze enjoyed flirting and flouncing as a coquettish Dorabella; 'È amore un ladroncello' proved that she was equally secure at both ends of her register, and displayed her warm, supple tone. Sally Matthews offered a controlled, detailed performance as Fiordiligi, alert to the subtle nuances, intensely introspective and self-restrained. Indeed, in her effort to totally embody the staid stoic, Matthews tried a little too hard, and her voice was at times rather too inflexible; she certainly had the technical arsenal to cope with the outlandish angular leaps of ‘Come scoglio’, and the high B at the end of 'Per pietà' was spot on; her unravelling in Act 2 was conveyed by a rich array of different vocal colours, and she displayed an impressively resonant lower register; but, overall her voice lacked a certain warmth, and her arias failed to move this listener. Maybe this was apt for Miller’s conception, but it felt a bit too flinty and dry for me — we marvelled at the technical prowess, laughed at her pride, pitied her fall, but did not genuinely feel for her in her disillusionment.

The boys enjoyed their outlandish disguises — flowing locks, bandannas, black leather and shades — indulging in much horseplay, posturing and melodrama. As a heavy metal aficionado, Gulglielmo (Troy Cook) was suitably cock-sure, and petulant in his comeuppance, angrily muttering uncharitable thoughts during the Ab canon at the wedding. Charles Castronovo has a light but emotive voice, perfect for the soulful hippie, Ferrando; he was on outstanding form all evening. His cavatina, ‘Tradito, schernito dal perfido cor’ was ravishing. And, in his duet with Matthews, ‘Per gli amplessi’, both characters were not only effortlessly seductive, but rightly and totally absorbed by the beauty of their own singing and by their romantic vision of Love.

Cast_Cosi_ROH.gif(Left to Right) Charles Castronovo as Ferrando, Sally Matthews as Fiordiligi, Helene Schneiderman as Despina, Nino Surguladze as Dorabella and Troy Cook as Guglielmo

Don Alfonso (William Shimell) was appropriately cool and debonair, elegantly reclining to observe the shenanigans with amused distaste, but sometimes too detached to be convincing as the arch manipulator. From the opening trio, he seemed underpowered vocally although he did warm up as proceedings progressed, playing a more decisive role in ‘Soave sia il vento’; and, in fact, the lack of lustre to his tone, and the frequent absence of vibrato, did lend him a sad, resigned air, as he subtly guided his dupes from the sidelines.

Helene Schneiderman was a natural as Despina, an amoral good-time girl who really couldn’t see what the fuss was all about, and who encouraged us to see the idiocy of her mistresses’ self-delusions. Both of her two short arias were proficiently despatched, but it was in the recitatives that she shone, as a sharp PA, soothing the over-anxious ladies with cups of Starbucks and Prozac, rattling off the witty barbs and lampooning their pretensions.

Scene_Cosi_ROH.gifA scene from Così fan tutte

Making her debut at the ROH Julia Jones created a light-hearted, flippant musical fabric, expertly teasing out the woodwind solos which play such a subtle role in the drama. Balance and unity between stage and pit was superb, although I would have liked a swifter pace at times.

It may be an opera of ‘pairs’ but ultimately Miller’s ‘couples’ are isolated individuals, alone with only their self-regard for companionship. Mozart’s music may evoke the supreme beauty of love, and suggest the sincerity of their affections, but the musical and dramatic irony is piquant. Miller’s vision punctures the profundity of their self-deceiving ardour, and his symbolism is apt: as the intense self-absorption of Fiordiligi, as she gazes adoringly into the mirror, suggests, the only thing these solipsists truly love is themselves.

Da Ponte’s libretto has been condemned as absurd, cynically immoral and tritely trivial — Miller’s reading is all these things … and utterly convincing! The great Charles Rosen complained that Così was not ‘true to life’ but merely faithful to an eighteenth-century view of human nature, but I would suggest that Miller proves him wrong. The opera is to some extent a ‘closed system’; but this is not to say that it is not relevant to the outside world, or a reflection of our own. While the mobile ’phone gags may be less fresh than they were fifteen years ago, Miller’s updating, with its unconsoling conclusion, succeeds in convincing us that not only are ‘they all the same’, but so are we.

Claire Seymour

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):