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

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

OPERA TODAY ARCHIVES »

Reviews

ArtHaus Musik 100 215 [DVD]
10 Feb 2010

Rossini: La Cenerentola

Michael Hampe seems to have been the director of choice in the 1980s for tastefully traditional Rossini productions.

Gioacchino Rossini: La Cenerentola

Angelina (La Cenerentola): Ann Murray; Don Ramiro: Francisco Araiza; Dandini: Gino Quilico; Don Magnifico: Walter Berry; Clorinda: Angela Denning; Tisbe: Daphne Evangelatos; Alidoro: Wolfgang Schöne. Vienna State Opera Chorus. Vienna Philharmonic Orchestra. Riccardo Chailly, conductor. Michael Hampe, stage director. Mauro Pagano, set and costume design. Recorded live from the Kleines Festspielhaus, Salzburg during Salzburg Festival 1988.

ArtHaus Musik 100 215 [DVD]

$26.99  Click to buy

A series of DVDs devoted to Hampe’s stagings of minor Rossini works has been available for awhile: La Scala di Seta, Il Signor Bruschino, for example. Those productions hailed from a small but lovely theater. Now ArtHaus Musik releases what must have been a career highpoint for Hampe - his production of La Cenerentola from the Salzburg Festival, 1982. With the handsome but monochromatic sets and costumes of Mauro Pagano, Hampe stages La Cenerentola as a fairly naturalistic, slightly somber fairy tale. Only in the usual Rossini storm scene, when Don Ramiro races his horse-drawn carriage to claim his princess, does Hampe allow a broader stroke. Machine-driven wind blows the hats off the riders and the legs of the carousel horses swing wildly. The audience breaks out into sustained applause, perhaps desperate at that point for some visual excitement.

After all, La Cenerentola (with libretto by Jacopo Ferretti) takes two and a half hours to tell its familiar tale. This version differs in many details from the familiar “Disney”-ized confection most Americans know, but suspense is out of the question. Although Rossini’s score doesn’t boast the melodic richness of Il Barbiere di Siviglia, beautiful and enjoyable moments come around, with the best saved for last - the aria for the tenor that Rossini had dropped from Barbiere (Juan Diego Florez likes to include it these days) and re-wrote for his Angelina: “Non piu mesta.” Hampe’s approach has undeniable style and grace, but it isn’t much fun. In the end, with a story as slight as this, a little questionable taste would go a long way toward making the length of the opera less noticeable.

Walter Berry, nearing the end of a remarkable career, utilizes his worn but intelligent vocal skills effectively as Don Magnifico, and Gino Quilico makes for a gruff but appealing Dandini. As the two stepsisters, Angela Denning and Daphne Evangelatos don’t camp it up much, in keeping with Hampe’s dictates, with the result that they don’t make much of an impression.

Ann Murray and Francisco Araiza are well-matched as the romantic leads, for both good and bad. On the positive side, they are skilled, pleasant professionals, who know bel canto and can meet each role’s vocal requirements. Both are also able enough stage performers, moving and emoting with naturalness. Murray does better by the put-upon Angelina. In an effort to be gentlemanly, your reviewer will just say that designer Pagano does what he can to make her an appealing fairy tale princess. Araiza pulls off his transformation from servant to prince, but a blandness in his vocal delivery keeps him from total success. Neither lead has that extra factor that makes a performer riveting, fascinating. In the muted colors of Hampe’s staging, they both blend into the surroundings.

Riccardo Chailly later conducted a studio recording of this opera with Cecilia Bartoli, and the sharpness and detail of that performance is already established here, with the Vienna Philharmonic Orchestra, no less.

Recent productions of La Cenerentola tend to be colorful, even cartoonish affairs, and a more subtle staging such as Hampe’s might be seen by some as an antidote for that sort of over-the-top theatricality. It’s all a matter of taste, but a little more star wattage would have made this Salzburg production much more memorable.

Chris Mullins

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):