Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

OPERA TODAY ARCHIVES »

Performances

Brian Stucki as Almaviva and Elizabeth DeShong as Rosina [Photo by Tim Fuller / Arizona Opera]
27 Apr 2010

Il barbiere di Siviglia, Arizona Opera

The story of Gioachino Rossini’s Il barbiere di Siviglia (The Barber of Seville) is based on Pierre-Augustin Caron de Beaumarchais’ 1775 play, Le barbier de Séville.

Gioachino Rossini: Il barbiere di Siviglia

Figaro: Marian Pop (April 23, 25, May 2)/Joshua Hopkins (April 24, May 1); Rosina: Patricia Risley (April 23, 25, May 2)/Elizabeth DeShong (April 24, May 1); Almaviva: Victor Ryan Robertson (April 23, 25, May 2)/Brian Stucki (April 24, May 1); Bartolo: Peter Strummer; Basilio: Kurt Link; Fiorello: John Fulton; Sergeant: John Fulton; Berta: Grace Brooks; Notary: Cameron Schutza. Arizona Opera. Conductor: Joel Revzen. Director: Bernard Uzan.

Above: Brian Stucki as Almaviva and Elizabeth DeShong as Rosina [Photos Tim Fuller / Arizona Opera]

 

It is the first play of a trilogy that includes La folle journée ou Le mariage de Figaro, which was made into the opera Le nozze di Figaro by Mozart, and La mère coupable, which was set by Corigliano as The Ghosts of Versailles. Over the years, various composers of operas and singspiels have used it as the basis of their compositions. Ludwig Benda and Johann André wrote music to it in 1776. Johann Elsperger based a singspiel on it in 1780. Composer Giovanni Paisiello and librettist Giuseppe Petrosellini made Le barbier into an opera and it appeared first in Russian translation at the imperial court of St. Petersburg in 1782.

In 1783, The Barber’s story appeared as Die unnützige Vorsicht, a translation of the subtitle, The Useless Precaution. In 1794, The Spanish Barber by British born composer Alexander Reinagle was sung across the ocean in the brand new United States. It is said to have been a favorite of George Washington. In 1796, Nicolas Isouard, an organist from Malta who had moved to Paris to compose, set the story to music and it was presented at the Opéra Comique. When Rossini and librettist Cesare Sterbini chose that story and premiered their opera in 1816, Paisiello’s fans heckled the performance. At the second performance, however, the audience realized that Rossini’s version was well worth hearing, and from then on it became at least as popular as Paisiello’s work, which was also played for many years.

On April 24, Arizona Opera presented the last opera of its 2009-2010 season, a rousing rendition of Gioachino Rossini’s The Barber of Seville, at Phoenix Symphony Hall. The traditional production was by Bernard Uzan with detailed and functional sets by David Gano. The costumes by Anna Bjornsdotter were flattering to the artists as well as correct for the time and place. With Artistic Director Joel Revzen in the pit with the excellent Arizona Opera Orchestra, everything was ready for a fine performance. The overture was played with clarity and translucence. It seemed that the players could go as fast as the wind and still play each note precisely.

Unfortunately, after the overture, and while the tenor was singing his most difficult first aria, ushers allowed latecomers into the hall and accompanied them with flashlight beams and whispers.

Tall, good-looking Brian Stucki is a wonderful new coloratura tenor who can sing the most graceful lines of Almaviva’s music in correct style. A good actor, he has all the essentials for comedic timing. As Rosina, Elizabeth DeShong sang with honeyed tones and quite a powerful voice. She also let the audience know from the beginning that she was not about to submissively obey her guardian, Dr Bartolo.

AZ_Barber_6.gifElizabeth DeShong as Rosina, Peter Strummer as Bartolo and Joshua Hopkins as Figaro

This was Joshua Hopkins’s first Figaro, but no one would have known it from his performance. He was an authoritative barber who sang with robust sounds and had both vocal and stage tricks up his sleeve. Bass-baritone Peter Strummer was thoroughly amusing as the self-righteous Dr Bartolo. His slow tones had polish. His patter was understandable and secure. As the conspiratorial Don Basilio, Kurt Link did not wear the traditional hat, but he was a great comic villain whose voice was redolent with colorful deep tones.

Grace Brooks was a Berta who thought both Dr Bartolo and Rosina were crazy. She is still in the AZ Opera Young Artist Program, but she is fast becoming a finished singer and her aria was a delight to hear. Although John Fulton did not have an aria, he portrayed both Fiorello and the Sergeant with thoughtful consideration of their situations.

The all male chorus led by Julian Reed sang with gusto and harmonized accurately. Reed also played the beautifully modulated recitatives on the harpsichord. This was a hilariously funny show and the laughter almost drowned out some of the music, but the Barber is a true comedy and it was good to see it so well appreciated by the Arizona audience.

Maria Nockin

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):