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

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.

Debussy: Pelléas et Mélisande

So this was it, the Pelléas which had apparently repelled critics and other members of the audience on the opening night. Perhaps that had been exaggeration; I avoided reading anything substantive — and still have yet to do so.

Richard Strauss: Arabella

I had last seen Arabella as part of the Munich Opera Festival’s Richard Strauss Week in 2008. It is not, I am afraid, my favourite Strauss opera; in fact, it is probably my least favourite. However, I am always willing to be convinced.

Carmen in Orange

Some time ago in San Francisco there was an Aida starring Luciano Pavarotti, now in Orange it was Carmen starring Jonas Kaufmann. No, not tenors in drag just great tenors whose names simply outshine the title roles.

OPERA TODAY ARCHIVES »

Reviews

Joyce DiDonato [Photo by Sheila Rock courtesy of IMG Artists]
01 Feb 2010

Joyce DiDonato, Wigmore Hall

The Wigmore Hall was bursting its seams in excited anticipation of this recital by the American mezzo-soprano, Joyce DiDonato.

Joyce DiDonato: Three Centuries of Italian Love Songs

Joyce DiDonato, mezzo-soprano; David Zobel, piano; Lucy Wakeford, harp.

Above: Joyce DiDonato [Photo by Sheila Rock courtesy of IMG Artists]

 

Rapturous applause greeted her entrance, and the audience’s fervent delight increased with every step of this journey through the trials, tribulations and triumphs of Italian romance. Tracing a path from the late Renaissance to the turn of the twentieth century, DiDonato clearly enjoyed herself, and the programme was certainly both eclectic and generous.

DiDonato did not give herself the easiest of openings, and did not wholly pull it off. Despite her careful self-restraint, and deliberate attention to breathing and phrasing, ultimately her voice is simply too large — its colours too overt, its textures too rich — for the subtle ambiguities and delicate sensibility of the miniatures from the seventeenth and eighteenth centuries which she selected from the Arie antiche, a collection gathered and edited by Alessandro.Parisotti in the late-nineteenth century. Teasing madrigalisms — the ‘playful breeze’ or ‘the sound of the waves’ — seemed somewhat mannered and a little heavy-handed, as DiDonato worked too hard to conjure an air of simplicity. The Italian texts were enunciated with a naturalness and ease, particularly in Raffaello Rontani’s ‘Or ch’io non sequo più’ (‘No longer will I follow you’), but — despite some mischievous rubato in the well-known ‘Se tu m’ami’ (‘If you love me’, Parisotti, attributed Pergolesi) — the necessary light-heartedness of spirit was not fully achieved.

Most successful was Caccini’s startlingly beautiful ‘Amarilli mia bella’ (‘Amaryllis, my love one’). Here DiDonato experimented with an understated, pure tone, her vibrato-less sound enlivened by thrilling ornaments — delayed appoggiaturas and tremulous, tense trills — while the piano sought to emulate the shudders and tremors of a Renaissance continuo. Indeed, the French pianist, David Zobel, was a thoughtful and imaginative accompanist throughout this sequence, whipping up the energy in the opening ‘Danza, danza fanciulla gentile’ (‘Dance, dance, young girl’) by Francesco Durante, deftly establishing the carefree world of the opera buffa in Paisiello’s ‘Nel cor più non mi sento’ (‘Why eels my heart’). DiDonato’s spirit of fun and her ability to slip from one persona to another were apparent in this song, a Cherubino-esque faux innocence characterising her interpretation of ‘the fire of youth divine’ — and fittingly so, as the page himself was to make an appearance later in the evening.

Whatever one’s misgivings, this was however an intriguing sequence, one which balanced the renowned with the unfamiliar, and which endeavoured to offer a fresh reading of the former and to make a convincing case for the latter. The four Italian ariettas by Beethoven which followed were perhaps less engaging, written during the young composer’s studies with Salieri, when he learned from the master how to set the texts of the doyen of opera seria, Metastasio. Not quite ‘student exercises’ — ‘L’Amante impaziente’ (‘The Impatient Lover’), for example, appeared in two guises, one frivolous, the other pathetic — these songs lack genuine depth. Nevertheless, their simplicity of form and style did allow the unity between singer and accompanist to shine: unisons and echoes were effortlessly coordinated and intertwined in ‘Hoffnung (Dimmi ben mio)’(‘Hope (say, my love, you love me)’) and the more melancholy, pianissimo rendering of the lover’s impatience; a graceful, shared lyricism shaped ‘La partenza’ (‘The departure’). Throughout, Zobel sought to characterise and dramatise, his ‘scotch-snap’ heartbeat pulsing through ‘T’intendo, si, mio cor’ (‘My heart I hear you well’) and a tumult of arpeggio triplets conveying the buffoon-like impetuosity of the desperate inamorato.

The first half of the recital closed with DiDonato’s signature Rossini - the ‘Willow Song’ from Otello, with obbligato harp performed by Lucy Wakeford. DiDonato’s relaxed demeanour was revealed when, just as she drew breath, a mobile ‘phone interrupted proceedings: “It’s Otello,” she quipped, “Tell him it's not true.” Unfazed and undistracted, the purity and transcendence of her performance was spell-binding. Eager to make the most of her harpist’s presence, DiDonato offered an unscheduled encore before the interval — the heavenly prayer, ‘Guisto Ciel’, from Rossini's Maometto Secondo. The tranquility and sweetness conjured by singer and instrumentalist was truly unearthly; which did, however, raise the question of why DiDonato did not explore the potential of the harp’s sonorities in the opening Arie antiche

The second half of the recital ranged once more over favourite pastures and new terrain, as DiDonato convincingly made the case for a reconsideration and re-evaluation of nineteenth-century Italian art song. The melodic arcs and yearning cadences of Puccini, the rich harmonic palette of Richard Strauss, the shimmering textures of Debussy … all echo through the liriche da camera of Francesco Santoliquido. His ‘I Canti della Sera’ are operatic miniatures, scaling emotional peaks and troughs, and perfectly suited to DiDonato’s innate musical and dramatic expansiveness. ‘Tristezza crepuscolare’ (‘Twilight sadness’) allowed the mezzo to reveal the dark opulence of her lower register, as she effectively exploited the textual repetitions to build urgency and passion. Songs by Ildebrando Pizetti, Enrico Toselli, Stefano Donaudy and Mario Castelnuovo-Tedesco followed. DiDonato delighted in indulging her feeling for dramatic contrasts: a silky velvet hue evoked the loneliness of the lover who waits in vain at the close of Pizetti’s ‘Oscuro le ciel’ (‘The sky is dark’), while an effervescent impishness characterised Tedesco’s ‘Ballad’.

The final group of four songs imported the strains of Spain, France and Arabia to Italian shores. In Barbara Guiranna’s eerie ‘Canto arabo’ (‘Arab Song’), DiDonato relished the angular slips and slides, floating dreamily between the pitches of the ‘off-key’ scales; while in Arturo Buzzi-Peccia’s ‘Lolita’ (popularised by Caruso) and Vincenzo Di Chiara’s ‘La Spagnola’, her voice lushly over-spilled: singer, actress, communicator — her warmth, joy and exuberance was exhilarating,

Despite the heights already reached during the evening, two encores served merely to show how much more there is in DiDonato’s arsenal. A cheeky ‘Voi che sapete’ brought Mozart’s insouciant page instantly to life; last came ‘Tanti affetti’ from Rossini’s La Donna del Lago. Oddly, it was as if for the first time in this stunning recital we were permitted a glimpse of the full range of DiDonato’s vocal capabilities, the expanse of her tessitura, at both ends, the sparkle and prowess of her coloratura. A triumphant end which left the ecstatic audience eager for more.

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):