Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

OPERA TODAY ARCHIVES »

Performances

Danielle de Niese and Vivica Genaux (as Ino) [Photo by Alvaro Yanez]
11 Jul 2010

Semele, Paris

The Parisian press was plastered with photos of Daniele de Niese. The glamorous 31-year old Sri Lankan-Australian mega-star is everywhere these days: a new TV series (“Diva Diaries”), a Decca greatest hits CD (“Diva”), and, with her marriage to Guy Christie of the Glyndebourne ruling clan, a secure position as the first lady of English opera.

G. F. Handel: Semele

Danielle de Niese, soprano; Jaël Azzaretti, soprano; Vivica Genaux, mezzo-soprano; Stephen Wallace, countertenor; Richard Croft, tenor; Peter Rose, bass. Les Talens Lyriques. Christophe Rousset conductor.

Above: Danielle de Niese and Vivica Genaux (as Ino)

All photos by Alvaro Yanez

 

She was in Paris to appear in one of her signature roles—Semele, Ovid’s overambitious nymph who pursues immortality but finds death—in Théâtre des Champs-Élysées revival of David McVicar’s 2004 production of Händel’s eponymous oratorio-opera.

I am not sure I would want to hear the whole performance again on tape, if one exists. Certainly I have no desire to seek out the obscure recording of the role de Niese made early in her career (Arion PV704021/22, deleted). Yet in the house, watching as well as listening, it made for a memorable evening. The Paris audience agreed, responding with a quarter hour of unrestrained cheers and rhythmic applause.

Jael Azzeretti and Vivica Genaux (as Juno)

My ambivalence stems from the fact that de Niese, as many have noted, is not a singer’s singer. At the top her voice turns metallic, runs and registers are not perfectly even, and slightly strained vocal production precludes a genuine piano or legato. Though she has the notes, manages coloratura adequately, and possesses a distinctive smoky timbre in the middle of her voice, the overall impression can be monochromatic. From a purely musical perspective, de Niese cannot offer the listener the spell-binding moments conjured up by the very greatest exponents of the Baroque and classic repertoire.

Yet de Niese makes 150% of what remains. If she lacks the nightingale delicacy and elegant ornamentation most others deploy in Händel, she supplants it with earthy exuberance and youthful energy. Her beauty and disarmingly naturalistic style of acting—more like TV than opera—convey a modern type of dramatic conviction. With Semele, the result is a musical-dramatic portrait of a flesh-and-blood creature: a spoiled adolescent, pouting, panting and protesting by turns. None of this is subtle, musically or dramatically, yet it is a perfect match of singer and role. De Niese shines particularly brightly in dramatic confrontations, such as the coloratura quarrel with Jupiter that seals her doom (“No, no, I’ll take no less”), her eyes flashing as she spits out the runs—a moment that normally seems anemic. She is similarly at home exploiting her sex appeal, more as actress than singer, as when she seduces Jupiter by running her foot along his crotch. (Amazing what tenors get to do, these days!)

Semele_Paris_Acte I_009.png Stephen Wallace, Daniele de Niese, Peter Rose, and Vivica Genaux (as Ino)

For those who favor purely musical values, de Niese’s colleagues offered greater rewards. Foremost among them was Peter Rose. Though surely among the most versitile of modern basses—in the past two months, he has sung Osmin in München, Ochs in Barcelona, Gurnemanz in Tokyo, and Falstaff in Seattle—Rose is hardly known as a Baroque specialist. Yet his Cadmus/Somnus was stylish and sonorous, underpinned by rock-solid lower register. At the end of Somnus’s “Leave me, loathsome light,” he interpolated down an octave to a long B1 (at Baroque pitch that’s almost a low b-flat). Resounding through the large theater like an organ pedal, it was one of the most astonishing notes I have heard in decades. Such vocal details were consistently accompanied by clear diction, convincing characterization, and sensitive phrasing.

The young Maltese-born, London-trained soprano Clair Debono made a limpid Cupid, singing in a “correct” Baroque performance-practice style that contrasted with the other principals, delivered with great sensitivity. Debono, who’s been appearing under William Christie and Emmanuelle Haïm, dispatched the Act I aria, “Endless Love” (actually written for Semele) to great effect. McVicar had her wander the stage in red 18th century garb, a black cane, and pair of John Lennon-style sunglasses—a striking allusion to Cupid’s blindness.

Alaskan mezzo Vivica Genaux assumed the double-role of Semele’s dull sister Ino and the imperious goddess Juno, differentiating the two splendidly. She offered much of the stylistic subtlety that De Niese lacked, even if her voice is not the plushest. American tenor Richard Croft, a veteran from the 2004 who has recorded the role on the recent Curnyn/Grange recording, assumed the demanding tenor part of the philandering Jupiter. Every note was in place, though the voice seemed to lack the extra sheen I have heard in years past, for example in “Where’er you walk.” Could this reflect the strain of preparing the Met’s Loge in the fall?

Less satisfying was countertenor Stephen Wallace as Athamas, another 2004 returnee. His voice seems to be fragmenting, with four or five strong notes in the high-middle, surrounded by weakness and an almost tenorial bottom. French soprano Jaël Azzeretti sang beautifully as Iris, like Debono in a more classically Baroque fashion, but her diction suffered by comparison to an otherwise Anglophone cast.

Semele_Paris_Acte II_187.pngRichard Croft and Danielle de Niese

McVicar’s production sets the entire opera in a single elegantly minimalist hemicylical space. The action is understated, sometimes even ironic, with only one coup de théâtre: the moment when Jupiter removes his regal protective cloak from Semele’s shoulders and—like Don Giovanni—she sinks into a smoking floor. Otherwise, McVicar’s quietly elegant approach focuses the action on inter-personal relations. This helps translate a chorus-laden and declamatory oratorio into a more complex opera libretto. Semele becomes story not simply of the title character’s ambition, but of sibling rivalry. Ino is resentful: She wears spectacles, for example, symbolizing not only her plainness compared to her sexy sister, but the fact that that she, in contrast to blind Cupid or impulsive Semele, sees her true love from the start.

Overall the performance highlights the current state of Baroque opera performance, which has found new a compromise between the full-voiced dramatic style of the 1970s Handel revival and the purity of the 1980s and 1990s heyday of “authentic” practice. While harpsichordist cum conductor Christophe Rousset is steeped in the latter aesthetic, and continues to do much to uncover new and obscure scores, his interpretive ideal in Händel opera remains Marilyn Horne. Rousset believes—I suspect he’s right—that Händel would approve of such an overtly dramatic approach, not least in an overtly witty and bawdy “tragedy” like Semele. Rousset’s conducting bristled a bit, rather at the expense of charm—though, to be sure, despite its wonders, Händel’s score lacks the orchestral range of Monteverdi or Mozart—but Les Talens Lyriques and the Choeur du Théâtre des Champs-Élysées followed with admirable virtuosity. Overall, the success of this hybrid Händel evening is a tribute to the leadership of Dominique Meyer, who promoted much Baroque opera at Champs-Élysées and with these performances leaves Paris to head the Wiener Staatsoper.

Andrew Moravcsik

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):