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

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

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):