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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
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.”
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.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
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.
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.
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.
Never thought I’d say it but......
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.
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.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
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.
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.
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.
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.
08 Mar 2010
Love Triumphs in L’Elisir d’amore at Lyric Opera of Chicago
In its current revival of Donizetti’s L’Elisir d’amore Lyric Opera of Chicago’s production showcases the strengths and foibles of humanity, while assuring the ultimate triumph of love.
The bright and festive staging featured, in its opening cast, Nicole Cabell and
Giuseppe Filianoti as the pair Adina and Nemorino, whom love finally unites.
The rival to Nemorino in his courtship of Adina, Sergeant Belcore, was sung by
baritone Gabriele Viviani. Whereas both suitors of Adina are making their debut
this season at Lyric Opera, the pivotal role of Doctor Dulcamara, who produces
the elixir allegedly causing love, was portrayed by familiar baritone
Alessandro Corbelli. The orchestra was conducted by Bruno Campanella.
In it performance of the overture the Lyric Opera Orchestra yielded a firm
balance of strings and woodwinds, with the oboe and flutes especially standing
out. Campanella led with tempos that allowed for motivic expression of
individual segments while maintaining an overall conception of the orchestral
flow. The first scene of the opera in this production is bathed in sunlight;
the Lyric Opera chorus in its opening number gives the impression of a
nineteenth-century village gathering. Nemorino threads his way through the
crowd of peasants and townspeople in order to snag a glimpse of his beloved
Adnia. She seems to be lost in her reading and, with book in hand, she ascends
to an elevated balcony and seeks out space for concentration. In his first solo
number, “Quanto è bella,” [“How beautiful!”] Nemorino
details his infatuation with ardent lyricism. Mr Filianoti truly gave such an
impression while lacing his verses with an admirable sense for legato.
In his appeals to gain access to Adina’s attentions Filianoti relied,
perhaps more than needed, on forte expression, a more even balance
showing itself once interaction with the other performers began. During the
following, parallel aria Adina reveals that the subject of her reading is the
story of “Tristan and Isolde” whose boundless love was engendered
by a potion. Here Ms. Cabell indicated Adina’s absorption in the tale of
the magical love by, at first, an understated approach with spare use of vocal
decoration. As Adina continues to muse and wishes that she knew more about the
potion, a troop of soldiers enters under the direction of Sergeant Belcore. In
his introductory aria he offers a token of admiration to Adina and sings of his
own love being tantamount to that of a Classical or mythological model of
amor. Mr. Viviani worked his way into this entrance so that his
elaborate decoration was securely applied to suggest an image of
self-importance by the close of his declaration. Adina does not commit herself
as a result of this paean, yet Nemorino feels that he could lose any chance to
win her love. By the point of the trio ending this scene all three principals
had achieved a vocal and dramatic characterization of their roles and
interacted well to express the hauteur of the Sergeant, the desperation of
Nemorino, and the coyness of Adina. The duet which follows this exchange
features the latter two characters in their first scene alone together. As
Adina attempts to dissuade Nemorino from further displays of devotion, he seems
willing to neglect even the fortunes of an ailing uncle. Filianoti sang
graceful arching lines in his description of the unstoppable flow of the river,
in order to describe the futility of trying to stay his emotions [“Chiedi
al rio perchè gemente dalla balza” (“Ask of the river why it parts
from its source and fountain”)]. Ms. Cabell’s voice seemed to bloom
here as she matched the touching bel canto decoration of her suitor,
even though her response to Nemorino essentially denied his entreaties.
In a shift suggesting the scene at the start of the opera numerous villagers
collect around the cart of Dr. Dulcamara, who enters from his travels with
great spectacle. Mr. Corbelli inhabits the role in all its facets convincingly.
From this point until the close of the act Dulcamara’s personality and
his influence have an effect on Nemorino’s hopes and behavior. At first
Dulcamara brags to the villagers of selling a panacea for any possible ill. Mr.
Corbelli handles the doctor’s rapid monologue with idiomatic ease, and he
infuses the words with believable posture. Once the townspeople leave, Nemorino
asks if a potion to induce love is also sold by the doctor. True to
expectations of Dulcmara, a potion akin to Isolde’s is produced: the
doctor sells Nemorino a bottle of wine and suggests that he allow a days’
time for the elixir to take effect. In the well-known duet including
“Obbligato!” [“Much obliged!”] both Filianoti and
Corbelli maintain and enhance their characterizations of a lovelorn youth and a
self-serving charlatan. Their challenging vocal lines were delivered crisply
and with sufficient independence so that each made a distinct impression while,
at the same time, being caught up audibly in the sense of a progressive duet.
Nemorino imbibes from the elixir as instructed and he becomes, of course,
emboldened in his sense of confidence. When he next sees Adina, Nemorino seems
disinterested and he declares that her emotional response will surely be
kindled before long. Ironically Belcore enters and presses his suit again. In
the trio which concludes Act I Adina agrees, at first, to give her consent to
Belcore by the following day. When reminded of the sergeant’s imminent
departure, she agrees to a marriage on this very day. Mindful of the
doctor’s prediction, Nemorino is now aghast that sufficient time will not
have elapsed for Adina’s love to be awakened by the potion. Accompanied
by increasingly rapid tempos, all three principals in this production sailed
toward the finale while communicating individual emotions as part of a larger
canvas in the ensemble. The well-rehearsed chorus contributed to the picture of
unexpected dilemmas at the close of the act.
At the start of Act II festivities for the wedding between Adina and Belcore
have been set up. While Belcore waits for the marriage document to be signed,
Adina regrets the absence of Nemorino. The crowd is entertained by a song
performed in duet by Dulcamara and Adina. At this pont Ms. Cabell and Mr.
Corbelli engaged in play-acting to suggest the amorous tone of the song, a
skillful maneuver which enhanced the tension of love as gradually depicted here
in its development. Once the notary arrives to seal the marriage, Adina finds
further reason to delay her agreement. She leaves Dulcamara alone at the
banquet until Nemorino appears to beg more of the elixir. Since he has no cash
to buy the potion, Nemorino sells his time to the army: Belcore gives him
twenty crowns in exchange for military service. In these two scenes Filianoti
showed a skillful application of vocal colors, first in his exchange with
Dulcamara followed by the pointed duet with the sergeant. Once the news that
Nemorino’s wealthy relative has passed away is communicated by the
village girl Giannetta, the youth returns under the influence of the elixir. In
the role of Giannetta, Angela Mannino gave full-voiced lyrical expression to a
memorable characterization. Now many of the women in the village vie for
Nemorino’s attentions, as Adina must rely on her own charms to settle the
emotional quandary. In their final solo numbers of the act both Filianoti and
Cabell demonstrated their skills at this repertoire. “Una furtiva
lagrima” [“A furtive tear”] was performed with great pathos,
a superior command of legato, and an effective use of
diminuendo toward the close. Ms. Cabell’s ultimate declaration
of her love was sung with appropriate and well-executed decoration as well as
carefully observed shifts in tempo during the course of the aria. The assembly
of well-wishers provided a happy ending as Dulcamara, initiator of the elixir,
departs upon having completed his task.
Click here for a photo gallery and other information regarding this production.