Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Macbeth, LA Opera

On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.

COC’d Up Ariodante

Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.

Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.

Toronto: Bullish on Bellini

Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.



Anna Netrebko as Manon Lescaut [Photo by Bill Cooper courtesy of Royal Opera]
04 Jul 2010

London’s Manon: Diva and Divo Deliver

The Royal Opera's intriguingly staged Manon had all the trappings of success including a soprano at the top of her game, and a tenor on the brink of his fame.

Jules Massenet: Manon

Manon Lescaut: Anna Netrebko; Chevalier des Grieux: Vittorio Grigolo; Le Comte des Grieux: Christof Fischesser; Lescaut: Russell Braun; Guillot de Morfontaine: Christophe Mortagne; De Brétigny: William Shimell; Pousette: Simona Mihai; Javotte: Louise Innes; Rosette: Kai Rüütel; Innkeeper: Lynton Black; Two Guardsmen: Elliot Goldie, Donaldson Bell. Conductor: Antonio Pappano. Director: Laurent Pelly. Set Designs: Chantal Thomas. Costumes: Laurent Pelly, Jean-Jacques Delmotte. Lighting Design: Joël Adam. Choreography: Lionel Hoche.

Above: Anna Netrebko as Manon Lescaut

All photos by Bill Cooper courtesy of Royal Opera


For his world class account of the Chevalier, young Vittorio Grigolo was lavished with the sort of reception being afforded to World Cup soccer goals these days. And what’s more, he kept on scoring and scoring and scoring and scoring all night. My fine impression of Mr. Grigolo in Zurich’s Il Corsaro did not in any way prepare me for his ability to totally immerse himself in such a thrilling, impassioned performance. From his first two acts of unforced boyish, puppy dog sincerity through his maturation and final extra-musical cry of despair over his beloved’s corpse, there was no detail of the character’s conflicts that he did not beautifully, effortlessly encompass.

He also showed that his lovely lyric voice could fill a larger house like Covent Garden. While I still would hope that he carefully consider spending too much vocal capital on the bigger outbursts, there is no denying that they were exciting. Vittorio seems to have a very secure technique, good vocal health, and an uncanny sense of how to use his gifts to good musical ends. His sotto voce effects were wonderfully calibrated and had us leaning forward in our seats to catch every nuance. And he is movie star handsome, a PR director’s dream. The rowdy approval from the discerning London public is a good indicator that Mr. G’s musical future is assured. Indeed, he made a pretty damn good case for calling the piece Des Grieux.

MANON-BC201006190844-GRIGOL.gifVittorio Grigolo as Chevalier Des Grieux and Anna Netrebko as Manon Lescaut

But it is, in fact, named for its heroine and here we were equally fortunate to have superstar Anna Netrebko as Manon. That she puts the ‘G’ in Glamor, and that her well known soprano is one of the most sleek and lustrous in the lirico-spinto Fach goes without saying. Ms. Netrebko is occasionally less acclaimed for her dramatic conviction and specificity. Not so here, for her multi-faceted embodiment of this complex woman, and the sustained arc of the character’s journey are easily the best performance I have ever experienced from Anna. And her French was notably improved (nay, ‘good’!) from the ‘Frussian’ she was intoning (albeit beautifully) on Vienna’s recent Carmen telecast.

She was utterly believable as the unforced, eager, impressionable young girl who stumbled into Act I, and she grew from that foundation with strength and conviction. Moreover, she and her leading man had an infectious chemistry that must have communicated to the last row of seats in the amphitheatre and several blocks beyond. Her singing showed off all the usual strengths: soaring top notes, even production, especially good legato, heartfelt coloring. She does miss a pitch by a hair here and there, mostly at the end of phrases in the lower middle, but this is as unpredictable and curious as it is infrequent. The celebrated exponent of the role, Beverly Sills often joked that the heroine is ‘the French Isolde.’ And so it is, requiring vocal stamina, style from girlish charm to fated desperation, and un-ebbing star quality to carry the long-ish evening. Ms. Netrebko’s fame and marketability may precede her, but she has emphatically delivered on her promise with this immensely satisfying portrayal.

Russell Braun was a vigorous, swaggering Lescaut, and although he deployed his pleasing baritone securely (and with excellent diction) I felt his hectoring might be tempered with a bit of restraint. As the Count des Grieux, Christof Fishesser had noble bearing and his rich bass made the most of every phrase. Christoph Mortagne’s Guillot was unusually fine, characterized by wit and vivacity, cleanly sung, and cliche-free. It was a pleasure to encounter the wonderful baritone William Shimmel again, this time as a solidly voiced Brétigny. I don’t always pay much attention to the trio of coquettes (who I usually find as interchangeable as the Pointer Sisters), but on this occasion we were treated to distinctive performances by Louise Innes (Rosette), and two Jette Parker Young Artists: Kai Rüütel (Rosette) and especially the very promising Simona Mihai (Pousette). These three young ladies made vibrant contributions all evening, and particularly brightened the Casino scene.

MANON-BC20100615088-RUUTEL-.gifKai Rüütel as Rosette and Simona Mihai as Poussette

The gifted director Laurent Pelly deployed his usual arsenal of theatrical inventions and infused this Manon with more humor than usual,. This strategy paid off huge dividends when we got to the contrasting devastating emotional moments. Mr. Pelly is reliably a master of character development, resulting in every person on the stage (including choristers) being at all times engaged, committed to the moment, and buoyed by sub-text. His staging made excellent use of the various playing spaces, and it was executed to a fare-thee-well by the lively cast. I loved the men in tails, side-stepping across stage during the gavotte, like Fred Astaire’s group-courting their Ginger.

I was less taken with the look of the sets, although pleased overall with their functionality. Even when they seemingly doomed the action to unavoidably repetitive movement patterns, Laurent found a way to turn the limitations to an advantage. Never off-putting and well constructed, designer Chantal Thomas relied on spare-looking, angular lines for the most part. Amiens’ square was a white box of an affair with a long staircase to the top level surmounted by miniature boxy, shuttered and roofed ‘houses.’ Not much about it to convey the feel of the Belle Epoque. In fact, the look was quite at odds with the style of the aural goings-on. The director borrowed a staging trick from Birgit Nilsson who, approaching a high note that would scare normal sopranos motionless, would nail it and then run across the stage while holding it perfectly. On the last long held note of their duet, this Love Couple ran up the entire length of the stairs to escape off the upper platform, never faltering vocally. Ah, youth!

Act II was among the best overall settings of the night, with the garret perched atop a configuration of metal roofs on the stage floor, reached by an ‘L’ of a staircase broken by a landing. This was a very fine environment indeed for the plot’s requirements, which put Lescaut and the Chevalier in the room behind a closed door, with Manon and Brétigny on the lower level of the landing. Adieu, notre petite table is very effectively stage with the soprano opening the door to see the table in the far corner just as she begins, entering the room as she continues, and with meaningful moves gets back out the door to close it again with finality on ‘Adieu.’ This could be a Masters Class in staging an aria.

MANON-BC201006160057-BRAUN-.gifRussell Braun as Lescaut and Anna Netrebko as Manon Lescaut

The cement ramps of the Cours-La-Reine scene had little visual appeal, but were redeemed by lovely globed street lights and a pastel backdrop that included a hazy tease of a Ferris wheel. The design knockout of the night was arguably Anna’s dazzling — there is no other word for it — dazzling fur-trimmed pink gown. Indeed, the colorful, eye-pleasing costumes that Mr. Pelly designed with an assist from Jean-Jacques Delmotte saved the day as far as visual delights. Lionel Hoche devised rather predictable choreography for the ballet, well-performed by eight-count-’em-eight white tu-tu’d ballerinas (ballerini?). The girls seemed to be having much more fun squealing and being pursued by the tipsy, horny revelers at scene’s end.

With the St. Sulpice scene, designer and director devised the most completely realized bit of Massenet all evening. Rows of wooden chairs find the congregation of women facing the altar off left, that is when they are not rubber-necking to catch a glimpse of that hot young Father Vittorio lurking behind them. Down right, hidden by a divider is the seminarian’s bed and simple study. By the time Manon enters in a white satin gown and methodically lures him to his fate, we are back to horizontal mode faster than you can say N’est-ce plus ma main. She lustily tears open the top of his cassock baring his torso, and the two of them fumble their way through foreplay in (*gasp*) church, before the curtain falls not a moment too soon! Not since Sherrill Milnes tore open his robe in the Met Thais have so many binocs been raised in hasty unison. If there is ever a sexier opera scene than this, it will end up on X-Tube. (The moody, apt lighting design is courtesy of Joël Adam.)

As we then see-sawed our way scenically back to the angled platforms, the skewed perspective, the flat uni-set color (this time dark green) of the Hôtel de Transylvanie with its gambling tables that rolled on and off from the wings, I wondered if I was missing some sort of intentional alternating design pattern, one all blunt angles, one more realistic. Save one fun effect of wheeling on a table with Guillot seated on the end of it, the scene was competent but colorless (always excepting the attire). This was compensated for in large measure by the final scene, a beautiful, golden-beige open space flanked by receding bannisters on either side suggesting a desolate beach or quay more than the road to Le Havre. The street lamps on stage right recall the happier events of the Cours-la-Reine. It is with this final encounter that Pelly delivers his most heartfelt work with an inevitability about the final pairing and sinking and kissing and expiring that I will number among the tenderest extended moments ever communicated on an opera stage. Goose bumps. Tears. All the buttons were pushed. Bravi, tutti.

In the pit, Antonio Pappano’s conducting at first seemed dry, with a prelude of precision but not much joy. Maestro Pappano is a no fuss, no muss guy, and after a quick acknowledgment of the audience, he plunges right into the proceedings. And I mean, right in. Maybe allowing just a moment for the orchestra to focus on his face rather than his back would prep them a bit more for the bubbling opening bars. This was quickly remedied, and in short order everything was percolating along in festive Gallic fashion, but when the same music opened Act III, there was a noticeable difference in the style and elan from this fine group of musicians. Throughout the night, Pappano displayed total command, and accommodated and supported his well-rehearsed cast of singers.

James Sohre

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):