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

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.

OPERA TODAY ARCHIVES »

Performances

Ermanno Wolf-Ferrari by Brightcecilia Classical Music Forum
07 Jun 2010

I Gioielli della Madonna, New York

Ermanno Wolf-Ferrari, son of an Italian mother and a German father, was born in Venice but acclaimed only when he took his operas to Germany, where he became quite popular during the first decades of the twentieth century.

Ermanno Wolf-Ferrari: I Gioielli della Madonna

Maliella: Julia Kierstine; Carmela: Eugenie Grünewald; Gennaro: Raúl Melo; Rafaele: Joshua Benaim. Westfield Symphony Orchestra and Cantori New York Chorus and Long Island University Chorus, conducted by David Wroe. Teatro Grattacielo, at Frederick P. Rose Hall. Performance of May 24.

Above: Ermanno Wolf-Ferrari by Brightcecilia Classical Music Forum

 

When Italy and Germany went to war, his career languished, and his music has not endured — perhaps because his most notorious work, the brief, comic Segreto di Susanna, arouses modern prejudices: it’s a hymn to the joys of cigarette addiction. Or perhaps it’s because he never quite settled on a single style, and his tuneful, professional operas do not fit into any easy category.

I Gioielli della Madonna (The Jewels of the Madonna), a story of passion, sacrilege and madness among superstitious Neapolitan hoi polloi, composed in 1911, is Wolf-Ferrari’s sole contribution to the Verismo genre. It was quite popular in its day, especially in Chicago, where the great Polish soprano Rosa Raisa made it a celebrated vehicle. Maria Jeritza (and, later, Florence Easton) triumphed in it at the Met, in an all-out superspectacular production in 1926 with street scenes in anthropological detail, giving the snooty Times reviewer the chance to condemn its vulgarity in a group with Cavalleria Rusticana and Tosca — names unlikely to deter opera fans today. On the strength of the excellent concert performance presented by Teatro Grattacielo at Rose Hall last Monday, Wolf-Ferrari might be worthy of more attention, though there are few Raisas or Jeritzas around today who could do the role of Maliella justice.

Wolf-Ferrari’s gifts for depicting character with melody, his skill at taut plotting and abrupt turns from festival to horror were rather greater in his youth than were evidenced in the much later Sly, when the Met produced that dreary vehicle a few years back. As a composer, Wolf-Ferrari is not so much of the manner of such contemporaries as Giordano and Montemezzi as a harkener back to the melody of Ponchielli, Boito and the young Mascagni. If the crowd scene that opens I Gioielli takes a lot of time (and would cost a fortune to stage — peddlers, street kids, folk making the evening passaggio, the full panoply of local color) and the orgy in the den of brigands in Act III goes on for rather a bit, there is always a pleasing tunefulness to pass the time. Too, the composer has the orchestral skill for not one but two intermezzi and a ballet — though I did not find them as evocative as Mascagni’s or Ponchielli’s.

The story was devised by the composer, probably after being fleeced during a Neapolitan vacation. Venetians are reluctant to admit that Neapolitans belong to the same nationality as themselves, and the Camorra, who figure loudly in the opera, are still the real rulers of the city.

I_Giioelli_10.gifPhoto by David Samsky

Gennaro is lustfully obsessed with young, arrogant Maliella. As Maliella, a girl of low birth, has been raised as his foster sister, she finds his possessive attitude grotesque; she is attracted to the sexy local Camorra boss, Rafaele, who offers her anything she likes — even the jewels that adorn the wonder-working local statue of the Madonna, Queen of Heaven. Of course Maliella would never ask such a sacrilegious gift, and even Rafaele wouldn’t really steal them, but she tosses the offer in Gennaro’s face — and he, maddened, does just that, decorating the girl with the stolen jewels and using her shock (and her lust aroused by a duet with Rafaele) to seduce her. Now that she’s damaged goods, Rafaele, who has boasted of her virginity, no longer wants her and the Camorra are horrified by the accusation they will surely receive when the theft is discovered. Maliella drowns herself. Gennaro goes mad, prays for repentance, and stabs himself in religious ecstasy — yes, this is another opera composed in the era of turn-of-the-century Catholic revival (Suor Angelica, Le Jongleur de Notre Dame) where the Madonna makes a climactic, fatal appearance.

There is no one to like very much in this story, and its erstwhile popularity may be credited in part to the audiences’ cheerful contempt for the superstitious lower orders. In an earlier era, Mozart’s Bastien und Bastienne and Bellini’s La Sonnambula tickled sophisticates with tales of naïve peasant love — how happy we might be if we were as poor and simple as they! In the Verismo era of Cavalleria Rusticana, Tiefland and I Gioielli della Madonna, the pitying sneer was again not unmixed with envy: we’re too civilized to believe in the miraculous or to avenge betrayal with blood, but aren’t these peasants passionate? Wouldn’t it be nice if we could feel like those simple folk? Among later works in a similar strain, one can think of Kurt Weill’s Threepenny Opera (in which German lowlifes paraded their passions for a cheerfully shocked bourgeoisie), Gershwin’s Porgy and Bess and Bernstein’s West Side Story. This patronizing attitude has not died out. Why should it? Sophisticates who have no intention of renouncing their sophisticated privileges, love to think they bear a burden.

For the Grattacielo performance, Julia Kierstine wore a red spangled gown as loud as, well, Rosa Raisa — she was fun to watch. Her voice had the heft and the lyric lilt for sexy Maliella, but the annoying quality of singing around rather than precisely on the pitches. I did not get the sense (which the composer clearly wished to convey) of a flaunting but naïve sexpot, and am not sure if it was her technique or the melody that failed. Kierstine did better with the sensuous duet in Act II (which does not get pornographically out of hand because the composer has cleverly put a locked and barred garden gate between the two passionately lusting lovers), and the brief Verismo mad scene that accompanies her seduction at the act’s climax.

Joshua Benaim tossed off Rafaele’s addresses with the proper casual and sexy address — one believed in the sincerity of his passion for Maliella — until he finds she’s no longer a virgin, and discards her in disgust. Benaim has a sturdy, well-focused, slightly rough-edged baritone, and he cleverly makes use of its roughness to display the nastier sides of Rafaele’s personality, barking the lines in disgust in contrast to his elegant phrasing of serenade and yearning duet. He is a gifted, intelligent singer, and Italian opera of this era rewards that sort of skill.

Raúl Melo sang the tormented role of Gennaro with fervor that never interfered with an attractive lyric line. Gennaro is rather a one-note character until his final magnificent scene of repentance and suicide, and the character is not a pretty one, but the quality of Melo’s singing kept us eager to have him return, to hear what he would give us next.

Eugenie Grünewald sang Gennaro’s mother Carmela with the right broad and earthy spaciousness, not unmixed with an unfortunate wobble. The many small roles were cast with Teatro Grattacielo’s usual expertise.

David Wroe, the company’s music director, kept impressively on top of this elaborate score, which his large orchestra, enormous chorus (on the rear tiers of the hall), mandolins for local color (not overdone, thank you Maestro Wolf-Ferrari), and expert children’s chorus performed with great panache until the final slightly uneven pianissimo. There was even a mime for one intermezzo and four dancers for the orgiastic ballet — capable no doubt, but for me the least interesting part of the night; I kept my eyes closed to focus on the music-making.

Rose Hall is not enormous and the acoustic varies greatly — I found my seats in the front orchestra awkward due the brassy explosions of the opening scene, the balances much better from the rear of the section for the other acts. A loud, elaborate orchestration calls for sitting farther back — as in any hall.

John Yohalem

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):