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

Bartók’s Duke Bluebeard’s Castle at the Barbican

Two great operas come from the year 1911 - Richard Strauss’ Der Rosenkavalier and Bela Bartók’s Duke Bluebeard’s Castle. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories.

Puccini’s Tosca at the Royal Opera House

Now on its ninth revival, Jonathan Kent’s classic Tosca for Covent Garden is a study in art, beauty and passion but also darkness, power and empire. Part of the production’s lasting greatness, and contemporary value, is that it looks inwards towards the malignancy of a great empire (in this case a Napoleonic one), whilst looking outward towards a city-nation in terminal decline (Rome).

ROH Return to the Roundhouse

Opera transcends time and place. An anonymous letter, printed with the libretto of Monteverdi’s Le nozze d’Enea con Lavinia and written two years before his death, assures the reader that Monteverdi’s music will continue to affect and entrance future generations:

London Schools Symphony Orchestra celebrates Bernstein and Holst anniversaries

One recent survey suggested that in 1981, the average age of a classical concertgoer was 36, whereas now it is 60-plus. So, how pleasing it was to see the Barbican Centre foyers, cafes and the Hall itself crowded with young people, as members of the London Schools Symphony Orchestra prepared to perform with soprano Louise Alder and conductor Sir Richard Armstrong, in a well-balanced programme that culminated with an ‘anniversary’ performance of Holst’s The Planets.

Salome at the Royal Opera House

In De Profundis, his long epistle to ‘Dear Bosie’, Oscar Wilde speaks literally ‘from the depths’, incarcerated in his prison cell in Reading Gaol. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty.

In the Beginning ... Time Unwrapped at Kings Place

Epic, innovative and bold, Haydn’s The Creation epitomises the grandeur and spirit of the eighteenth-century Enlightenment.

The Pearl Fishers at Lyric Opera of Chicago

For its recent production of Georges Bizet’s Les pêcheurs de perles Lyric Opera of Chicago assembled an ideal cast of performers who blend well into an imaginative and colorful production.

New Cinderella SRO in San Jose

Alma Deutscher’s Cinderella is most remarkable for one reason and one reason alone: It was composed by a 12-year old girl.

La Cenerentola in Lyon

Like Stendhal when he first saw Rossini’s Cenerentola in Trieste in 1823, I was left stone cold by Rossini’s Cendrillon last night in Lyon. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.

Messiah, who?: The Academy of Ancient Music bring old and new voices together

Christmas isn’t Christmas without a Messiah. And, at the Barbican Hall, the Academy of Ancient Music reminded us why … while never letting us settle into complacency.

The Golden Cockerel Bedazzles in Amsterdam

Nikolai Rimsky-Korsakov’s fairy tale The Golden Cockerel was this holiday season’s ZaterdagMatinee operatic treat at the Concertgebouw. There was real magic to this concert performance, chiefly thanks to Vasily Petrenko’s dazzling conducting and the enchanting soprano Venera Gimadieva.

Mahler Das Lied von der Erde, London - Rattle, O'Neill, Gerhaher

By pairing Mahler Das Lied von der Erde (Simon O'Neill, Christian Gerhaher) with Strauss Metamorphosen, Simon Rattle and the London Symphony Orchestra were making a truly powerful statement. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message.

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

OPERA TODAY ARCHIVES »

Performances

Plácido Domingo as Simon Boccanegra [Photo by Catherine Ashmore courtesy of The Royal Opera]
20 Jul 2010

Simon Boccanegra at the Proms

Proms audiences have a tendency to be overly enthusiastic in showing their appreciation, with an arsenal of rituals and traditions at the ready to show their praise and adulation for their idols.

Giuseppe Verdi: Simon Boccanegra

Simon Boccanegra: Plácido Domingo; Amelia: Marina Poplavskaya; Gabriele Adorno: Joseph Calleja; Jacopo Fiesco: Ferruccio Furlanetto; Paolo Albiani: Jonathan Summers; Pietro: Lukas Jakobski. Conductor: Antonio Pappano. Royal Opera Chorus. Orchestra of the Royal Opera House. Director: Elijah Moshinsky. Costume Designer: Peter J. Hall. Royal Albert Hall, London. Sunday 18th July 2010.

Above: Plácido Domingo as Simon Boccanegra [Photo by Catherine Ashmore courtesy of The Royal Opera]

 

But, the ovation which greeted the conclusion of this semi-staged performance of Verdi’s dark, brooding Simon Boccanegra was wholly justified — for once the reality more than lived up to the hype.

Of course, the anticipation — with Proms managers predicting queues for Arena day tickets stretching into Hyde Park — was largely for Plácido Domingo, returning to the stage just a few months after treatment for cancer, in his new guise as a baritone.

Domingo may profess that his decision to abandon his place as one of the ‘Three Tenors’ was not merely one of expediency but driven by a life-long desire to sing one of Verdi’s greatest roles, the 14th-century Genoan patriarch, Simon Boccanegra. In fact, for some time Domingo has been uncomfortable at the upper end of his tenor range; indeed, he has of late asked conductors to transpose roles downwards. But, his voice has always been characterised by a dusky, baritonal colour, and here he seemed liberated, relishing the soaring lines of the role, while elsewhere adopting an appropriately weary tone. While dramatically this captured the complexities and contrasts of this imperfect man — a ruthless, swashbuckling pirate reluctantly recruited as leader of a warring community of aristocrats and plebeians — musically it turned the role upside down: for the low, conversational phrases sounded effortful while the tense melodic peaks projected with ease. For Domingo’s baritone is a fairly light voice, lacking a genuine heft, and some might prefer a more burnished tone, particularly in the lower register where Domingo used his chest to strengthen and reinforce the sound. However, one can overlook such matters when presented with such a convincing characterisation, for Domingo truly embodied the tragic grandeur and dignity of the careworn ruler.

A flop at its premiere in 1857 — and performed here in the revised 1881 version — Simon Boccanegra remains one of Verdi’s most convoluted plots. There are several tangled strands, characters have multiple names and identities, and it would be a fruitless endeavour to attempt to unravel the complications. However, while this performance may have been only semi-staged, there are other ways of conveying the emotional meaning of the music than busy stage action and clever directorial tricks. Domingo perfectly communicated the trauma and torment of the troubled Doge; and especially impressive was the relationship he forged with Amelia, sung by Russian soprano Maria Poplavskaya, in their tender reconciliation scenes. Poplavskaya’s opening aria was pitch-perfect and serene, and although at times her soprano lacked the necessary shimmer, she successfully conveyed both the vulnerability and feistiness of Amelia, as she stands up to her domineering father.

But this performance was not just about Domingo and the superb ensemble cast was inspired by the occasion, the company and by Verdi’s music. Singing the role of Adorno, tenor Joseph Calleja almost stole the show; Calleja has a secure Verdian technique, strong in tone and projection, subtle in dramatic nuance. His Act 2 aria was electrifyingly ardent and justly inspired the loudest applause of the night. There were rumours that Ferruccio Furlanetto might be indisposed but such fears proved unfounded, and he was a typically imposing and dignified Jacopo Fiesco, his gleaming, sonorous bass easily filling the cavernous auditorium. Bass-baritone Jonathan Summers, completing the cast as Paolo, lacked tonal brightness and stamina but was dramatically effective as the Iago-lile villain, oozing menace.

Truly at home in this repertoire, Antonio Pappano commanded the orchestra of the Royal Opera House with a blend of passionate abandon and absolute control, delighting in Verdi’s instrumental tapestry and drawing musical pictures of great feeling and finesse. The ensembles, especially the Act 2 trio and the Council Chamber scene, were particularly well-shaped. Pappano’s players rose to the occasion, producing committed and superlative playing with a genuinely Verdian tinta.

Plácido Domingo has had a long, varied and illustrious career, as tenor, conductor, artistic director (at the Los Angeles Opera and the Washington National Opera), always seeking out new musical experiences and personal challenges, and this clearly continues. In 1959, aged just 18-years-old, he auditioned for the National Opera in Mexico City as a baritone, and was told by the impressed jury that he was not really a baritone and should be tackling tenor roles — so began a celebrated and distinguished career. Now things have come full circle. But one can’t help feeling that the auditioning panel was in fact correct — Domingo was and is a tenor: the overall colour and bright ‘edge’ of his voice remain those of a tenor regardless of the register. However, whether this ‘project’ is a personal indulgence or a brave experiment, it is one which is fully justified by the musical outcome. Domingo told one recent interviewer, “After Boccanegra … I will probably say Amen.” Simon Boccanegra may spend the second half of the opera melodiously dying a drawn-out death by poisoning but, fortunately, Domingo does not yet sound ready to stop.

Claire Seymour

Click here for audio clips of this performance.

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):