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

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

OPERA TODAY ARCHIVES »

Performances

Jennifer Rowley as Maria di Rohan [Photo by Gabe Palacio]
01 Aug 2010

Maria di Rohan at Caramoor

Maria di Rohan was Donizetti’s penultimate opera, composed in Italian for Vienna in 1843, with revisions to appeal to the taste of Paris and Milan following.

Gaetano Donizetti: Maria di Rohan

Maria di Rohan: Jennifer Rowley; Chalais: Luciano Botelho; Chevreuse: Scott Bearden; Armando di Gondi: Vanessa Cariddi. Orchestra of St. Luke’s, conducted by Will Crutchfield. At the Caramoor Festival, Katonah, NY. July 24

Above: Jennifer Rowley as Maria di Rohan [Photo by Gabe Palacio]

 

Donizetti completed one more French grand opera, Dom Sébastien, before syphilitic madness ended one of the busiest of all composing careers at the age of 48. Maria was a success but not an enduring hit—the opera suffers from plot confusion, too many offstage events and far too many incriminating letters and devious proclamations (I lost count). Composed as a soprano vehicle, it was long kept alive by Titta Ruffo, who enjoyed the emotional range of the baritone’s part. Maria has plenty of Donizetti’s gracious melodies and the more forceful integration of musical number and dramatic form that make his later works so fascinating, so clearly foreshadowing his young friend Verdi, who learned a great deal from them, but its elaborate intrigues do not draw us in.

In history, Marie de Rohan was the notorious Duchesse de Chevreuse, an indefatigable troublemaker at the court of Louis XIII. In the opera, however, she is an anguished heroine, torn between love and duty and … more love. It’s not her fault that every man in the cast, including the one played by a woman, is crazy about her and that she can only be married to one of them at a time. (She could, of course, be the lover of more than one, and in real life, she was—but stage morals had to be stricter than life: “Una la volta, per carità!”) “You will live in infamy,” snarls her vengeful husband (that baritone), having just disposed of her lover (the tenor), as the final curtain falls. And so she did. Her reputation lingered like the scandals of bygone movie stars: everyone remembered that woman, but—what exactly did she do?

In an earlier day, Donizetti would have ended the piece with a strident cabaletta for the prima donna protesting her unjust fate (as he had ended Anna Bolena, Lucrezia Borgia and Roberto Devereux), and he did indeed write such a piece—but a new, tighter dramatic spirit was in the air, and he cut the number out. (It exists, though, and was performed at Caramoor in a concert of omitted music from other editions of the score before the main event. This is the sort of addendum that makes a Will Crutchfield concert opera such a delight for the bel canto enthusiast.) The opera now ends with that baritone snarl and an orchestral crash, leaving us (perhaps) stunned by Maria’s wordless anguish—the way Verdi and Puccini, afterwards, would stun audiences at the final curtain with a single cry. This is abrupt and thrilling—but I’d have liked to hear that cabaletta. Donizetti perceived that music-drama was changing, but Maria di Rohan is not Traviata or Tosca—its stately sort of drama seems to demand that full final statement.

Not that the prima donna’s role seemed abbreviated—she must lie to her lover, lie to her husband, plead (offstage) to saturnine Cardinal Richelieu for the lives of both, agonize over her reputation and her bad decisions, sing duets and suffer remorse, all in flowing despair or glittering excitement. Maria is a hefty soprano workout, and the only other woman in the cast is the trouser role of Gondi, who makes scandalous insinuations about Maria after she rejects him—and Gondi is soon disposed of. Basically, Maria, her husband Chevreuse, and her confused truelove, Chalais, are the only characters—aside from the cardinal, the king, the queen and Chalais’s dying mother, who remain offstage. The chorus part is brief. This is a chamber drama with grand opera forces.

One of the draws of the Caramoor performance was an exciting young soprano from the Crutchfield stable, but she withdrew due to illness three days before the performance. Maestro Crutchfield—like anyone else in the one-performance concert opera business—keeps a clutch of possible replacements on hand anticipating just this sort of fiasco, and his Caramoor Bel Canto Young Artists again proved its usefulness when Jennifer Rowley took on the arduous title role at short notice.

Rowley has a beautiful voice of considerable size, many attractive colors and remarkable evenness over a couple of octaves up to a spectacular D-flat. Her vibrato seems more suited to Germanic than bel canto roles (she sang Konstanze in Newark), but it disappears when long Caballé-style legatos are called for. Her trill is imprecise but not unpleasing, her ornaments stylish, and she was off-book three days after learning she would be going on. She earned a standing ovation and got it.

Luciano Botelho, a Brazilian tenor, sang her lover, Chalais. His voice is sweet and attractive if a little light for the demands of so intense a part—he is more a Nemorino or Ramiro (in Cenerentola) than a Chalais. He seemed at times to be gasping between lines of his opening aria, but his command of line gave great pleasure, and in his passionate final scenes he showed more strength.

Scott Bearden sang the Duc de Chevreuse, the sort of baritone who risks his life to save his tenor best friend—only to discover the fellow is his wife’s lover. He acted this well, remembering to limp when he’d been wounded in an offstage duel, and sang it in a curious way—for his opening aria went rather higher than baritones usually go (higher by some steps than the Ricordi score of the opera, published twenty years after the premier, demands), and though he managed this tessitura admirably, the quality of these notes had neither tenor excitement nor baritone heft. Was this an alternate version of the autograph? (Crutchfield had undoubtedly examined all discoverable versions of the score—he and Philip Gossett discussed their choices at a lecture in the afternoon.) If so, what sort of voice does Bearden have for the rest of the repertory—a low tenor or a high baritone? In later scenes, his voice seemed to possess more juice at the normal baritone range, and when he finally lost his noble temper—another of those letters!—he growled with far more comfort.

Vanessa Cariddi took the trouser role of Maria’s accuser, Gondi, with the right travesty swagger and a pleasing style. The smaller male roles were all handled rewardingly.

Crutchfield’s conducting of these bel canto operas is always subservient to the ease of the singers, sometimes to the detriment of theatricality. With a prima donna understudy, no doubt he was right to do this, but the dramatic arc of the piece as presented lacked excitement. It was pleasant to encounter this tuneful rarity, but nothing about the evening of fine singing proclaimed the opera an overlooked masterpiece.

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):