Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers

The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

Anima Rara: Ermonela Jaho

In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

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):