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 Performances

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Natalie Dessay as Marie and Juan Diego Flórez As Tonio [Photo by The Royal Opera / Bill Cooper]
20 May 2010

La Fille du régiment, Royal Opera

Expectations were running high for the opening night of Elaine Kidd’s revival of Laurent Pelly’s production of Donizetti’s mad-cap romp, La Fille du regiment — almost as high as Tonio’s infamous top Cs.

Gaetano Donizetti: La Fille du régiment

Conductor: Bruno Campanella;Tonio: Juan Diego Flórez; Marie: Natalie Dessay; Sulpice: Alessandro Corbelli; La Marquise de Berkenfeld: Ann Murray; Hortensius: Donald Maxwell; La Duchesse de Crackentorp: Dawn French. Director: Laurent Pelly. Associate Director/Dialogue: Agathe Mélinand. Revival Director: Elaine Kidd. Set Designer: Chantal Thomas. Costume Designer: Laurent Pelly. Lighting Designer: Joël Adam. Choreography: Laura Scozzi. Royal Opera House, Covent Garden. Monday 17th May 2010.

Above: Natalie Dessay as Marie and Juan Diego Flórez As Tonio

All photos by The Royal Opera / Bill Cooper

 

First staged to glorious reviews in 2007, in fact this co-production with the Vienna State Opera and the Metropolitan Opera, New York, has seldom been ‘out-of-production’ during the last two years; but Covent Garden has reassembled almost all the members of the original stellar cast, re-uniting French soprano, Natalie Dessay, as the gamine, gambolling Marie, with Juan Diego Flórez’ charming, heart-winning Tonio.

Even by the standards of 1840s opéra comique, the libretto is wildly implausible. But Pelly relishes the improbabilities and excesses, envisaging Donizetti’s trifle as a Gilbert & Sullivanesque caper; his staging abounds with visual gags which inject much energy humour into the text, which is itself enlivened by some smart one-liners (‘It’s raining soldiers’) and a co-mingling of English and French which neatly complements the franglais accents on stage. Certainly, the manic visual stimuli — lines of dancing long-johns, balletic dusting routines, a coup de théâtre tank - deftly keep at bay any potential dramatic languors; but, while satire is undoubtedly a vital element of the genre there is perhaps a danger that Pelly’s farce indulges in just a touch too much self-ridicule — surely Donizetti is sincere in his flippancy and frivolity?

As the regiment’s adopted daughter/skivvy, Natalie Dessay is certainly committed: from her first entrance — stumbling beneath a toppling mound of regimental laundry — she flounces and flops, stamps and strops, wildly throwing herself around the stage in a ceaseless comic routine à la Chaplin. Not afraid to squawk and screech, she savours the dialogue, spitting out Gallic ‘Merde!’s a-plenty, and confirms her reputation as one of the finest actors currently on the operatic stage. This is fast becoming a signature role — and indeed it is hard to imagine this production without Dessay — but there some alarming signs of dramatic and vocal wear-and-tear. Her comic timing may be exemplary, with coloratura pinging perfectly to a twang of the braces; and the top Ds and Es may ring true and clear even as she is tossed and twirled by her military ‘daddies’; but the price to pay for such a breath-taking performance may literally be the taking of Dessay’s breath. On more than one occasion she seemed exhausted by her own exuberance and, worryingly, in quieter moments her voice became rather pale, on occasion fading completely. Punching out the regimental song as she darted up and down the map-inscribed mountains of Chantal Thomas’s Act 1 set, Dessay effectively captured the drive and ambition of the military milieu, but if familiarity breeds excess and exaggeration, there is a danger that her performance could become a caricature of itself.

If Dessay never quite attained a true bel canto lyricism, Juan Diego Flórez’ light, high tenor is perfect for this part. Nonchalant leaps to the 9 successive high Cs in ‘Ah, mes amis’ were more than matched, even outshone, by a moving, tender declaration of love in his Act 2 aria, ‘Pour me rapprocher de Marie’. Although the voice is a little unyielding, the homogenous, even beauty of tone is astonishing, and it was hard to believe that the sweet, tenderness of the daringly hushed closing phrase could fail to touch the heart of the daughter-denying Marquise de Berkenfeld.

LA-FILLE-BC20100514204-(C)B.gifDawn French as La Duchesse De Crackentorp and Ann Murray as La Marquise De Berkenfeld

For all Pelly’s attention to dramatic detail, there was however a disappointing absence of genuine ‘chemistry’ between the star pair. Fortunately, Ann Murray’s self-important Marquise and Alessandro Corbelli’s soft-hearted Sulpice more than made up for this lack of erotic spark, with masterly embodiments of haughty elegance and paternal indulgence respectively. Her voice may lack some of its former sheen, but Murray knows how to command a stage and her entrance aria, 'Pour une femme de mon nom', was instantly engaging and convincing. Amusingly accompanying Dessay at the piano during the singing-lesson scene, she more than matched the master Corbelli for comic timing.

Queen of TV comedy, Dawn French, in the speaking role of the Duchess de Crackentorp, reprised her Vicar of Dibley trademarks, eliciting laughs by the mere raising of the eyebrow and stopping just a whisker short of overkill. Donald Maxwell as Hortensius completed the ‘dream cast’. They were complemented by a superb male chorus, although their female counterparts, admittedly less busy, were not quite up to the rest of the regiment’s mark.

LA-FILLE-BC20100514024-CORB.gifAlessandro Corbelli as Sulpice Pingot

Bruno Campanella conducted a rather scruffy performance from the Royal Opera House orchestra: although the pit-stage balance was excellent, the tempi were a bit ragged, and cast and band were occasionally out-of-step. However, things tightened up in the second Act, and a stunning solo ’cello introduced Dessay’s ‘C’en est donc fait’.

Florez’ light elegance shows no signs of waning, but Dessay can surely not reprise this role indefinitely. Although her Marie is at times less hyperactive tomboy and more hysterical Lucia, this is not a show to miss. Grab a ticket — even if you have to mount a military campaign to hunt one down.

Claire Seymour

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):