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

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

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.

OPERA TODAY ARCHIVES »

Performances

02 May 2010

No Elephants — Aida at the Royal Opera House, London

It’s time Verdi got attention in Aida, not elephants.

Giuseppi Verdi: Aida

Giacomo Prestia: Ramfis; Marcelo Álvarez Radames; Marianne Cornetti: Amneris; Micaela Carosi: Aida; Robert Lloyd: King of Egypt; Ji-Min Park: Messenger; Elisabeth Meister: High Priestess; Marco Vratogna: Amonasro. Actors, Dancers and Chorus of the Royal Opera House. Nicola Luisotti: conductor, Orchestra of the Royal Opera House. David McVicar ;director, Jean-Marc Puissant: set designs, Moritz Junge : costumes, Jennifer Tipton : lighting, Fin Walker : Choreography, David Greeves : martial arts director, Leah Hausman : associate director. Royal Opera House. London, 27th April 2010.

Above: Micaela Carosi as Aida

All photos by Bill Cooper courtesy of The Royal Opera House.

 

The blue elephant in Graham Vick’sTamerlano almost stole the show, but elephants were pointedly banned from this new production of Aida at the Royal Opera House, London. Instead, Verdi’s music takes pride of place, revealed in full glory.

Pre-performance publicity indicated that this would not be a stereotype production, but minimalist it certainly was not. Abstraction in many ways suits Aida, an opera of secrets and mysteries.

AIDA-©BC2010042169-ALVAREZ-.gifMarcelo Álvarez as Radames and Marianne Cornetti as Amneris

Large structures loom over the cast, for this is a drama where individuals are pitted against overwhelming forces. The simple, strong lines also permit a new kind of staging, created from light and colour.

No elephants, no circus. Instead the focus shifts onto Verdi’s music itself, revealing its magnificence without distraction. How glorious it is, heard as music! Indeed, it’s because Aida is so vivid orchestrally that we’ve become accustomed to associating it with grand panoramas. But music is in itself abstract. This time, the orchestral colours can be seen as well as heard. Shades of rose and ochre, scarab and peacock, amethyst and sand, glow iridescently, transforming as the music develops. Synaesthetes may overload, but this abstraction is surprisingly expressive, given the connection between visual image and music.

Nicola Luisotti conducted with flair..Tempi were on the fast side, but better that than too slow. Freed from the restraints of cumbersome staging, the orchestra’s pace matched the nervous energy in the drama. Violent moods, violent music. In the scene at the Temple of Vulcan, the Egyptians are working themselves up to a frenzy. Heightened emotion in the orchestra but less so in the dancing. The Rite of Spring style choreography would not have been out of place, but perhaps too much to expect. Strange, distorted shapes hang from the sky, like the corpses of the dead. When the prisoners shuffle in, they look like they’ve been in battle. As Aida (Micaela Carosi) reminds us, the Triumphal March may be triumph for some, but defeat for others.

In the third act, when Aida sings “Qui Radamès verrà,|” Carosi stands before a black and white panel, as stark as the dilemma before her. But when Micaela Carosi sings, the lusciousness of her music translates into washes of blue and green, evoking the dark, swift Nile and “cieli azzurri” above, her Egyptian present and memories of her native land. Carosi is a very experienced Aida. Her middle voice is secure, so the extremes in the part feel natural, rather than over-coloured. Aida is constrained, all around, by secrecy and the need for stealth, so she is a strong personality, and alert.

AIDA-©BC201004240654-PRODUC.gif

Marcelo Álvarez as Radames is a more conventional portrayal. He hectors, but then, Radames is a headstrong hero, eager for battle, but ennobled by the grace of love. His finest moment comes as he and Aida face death, when his voice softens and takes on a gentler tone. Marianne Cornetti was a forceful, forthright Amneris, and Marco Vratogna’s Amonasro suitably subdued.

Jennifer Tipton deserves much credit for designing the magnificent light show. David McVicar proves that abstraction does not mean minimal, and is just as valid musically as circus gimmicks.

Anne Ozorio

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):