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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.