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

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

A Prom of Transformation and Transcendence: Renée Fleming and the Royal Stockholm Philharmonic Orchestra

This Prom was all about places: geographical, physical, pictorial, poetic, psychological. And, as we journeyed through these landscapes of the mind, there was plenty of reminiscence and nostalgia too, not least in Samuel Barber’s depiction of early twentieth-century Tennessee - Knoxville: Summer of 1915.

The Queen's Lace Handkerchief: Opera della Luna at Wilton's Music Hall

Billed as the ‘First British Performance’ - though it had had a prior, quasi-private outing at the Roxburgh Theatre, Stowe in July - Opera della Luna’s production of Johann Strauss Jnr’s The Queen’s Lace Handkerchief (Das Spitzentuch der Königin) at Wilton’s Music Hall began to sound pretty familiar half-way through the overture (which was played with spark and elegance by conductor Toby Purser’s twelve-piece orchestra).

Glyndebourne perform La clemenza di Tito at the Proms

The advantage of Glyndebourne Opera’s performances at the BBC Proms is that they give us a chance to concentrate on the music making. And there was plenty of high-quality music-making on offer at the Royal Albert Hall on Monday 28 August 2017 when Glyndebourne Opera performed Mozart’s La clemenza di Tito.

Rossini’s Torvaldo e Dorliska in Pesaro

The rare and somewhat interesting Rossini! Torvaldo e Dorliska (1815) comes just after Elisabetta, Regina di Ingleterra (the first of his nineteen operas for Naples) — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.

OPERA TODAY ARCHIVES »

Performances

Sonia Ganassi as Rodelinda [Photo by Laera]
10 Aug 2010

Middle Ages Next to Come

According to Paulus Diaconus’ Historia Langobardorum, both Lombard sovereigns warring for supremacy in late 7th-century Italy — the legitimate king Perctarit and Grimuald the usurper — behaved rather fairly to each other and their families.

George Frideric Handel: Rodelinda, regina de’ Longobardi

Rodelinda: Sonia Ganassi; Bertarido: Franco Fagioli; Grimoaldo: Paolo Fanale; Garibaldo: Gezim Myshketa; Eduige: Marina De Liso; Unulfo: Antonio Giovannini. Orchestra Internazionale d’Italia. Rosetta Cucchi, director. Diego Fasolis, conductor. Palazzo Ducale, Martina Franca, Italy. Performance of 2 August 2010.

Above: Sonia Ganassi as Rodelinda [Photo by Laera]

 

Above all, there is no evidence that they would compete for queen Rodelinda, who instead was exiled to Benevento with her little son Cunincpert and lived peacefully there until Perctarit, after finally recovering the throne, summoned her back to the kingdom’s capital Pavia.

Turning into melodrama characters those practical barbarians, more interested in power than in romance or bloody vengeance, was the endeavor of such Baroque playwrights as the French Pierre Corneille and the Florentine Antonio Salvi. The latter’s 1710 libretto for Giacomo Antonio Perti (Rodelinda, regina de’ Longobardi), drastically pruned by Nicola Haym for the London stage, was set to music by Handel in 1725. It immediately proved a resounding success, also thanks to a cast including soprano Francesca Cuzzoni in the title role, the legendary Senesino as Bertarido, and some of the best singers available in the side-roles: tenor Francesco Borosini, bass Giuseppe Maria Boschi, and alto castrato Andrea Pacini.

7123.pngFranco Fagioli as Bertarido [Photo by Laera]

The present staging in Martina Franca, a festival traditionally claiming to “authentic” performing practice, plunged the romanticized 18th-century music drama back into the darkest Middle Ages, or into a “Middle Ages next-to-come”, as phrased by director Rosetta Cucchi. At least visually, through the combination of muddy and disheveled landscapes with costumes (by Claudia Pernigotti) featuring leather, rags, metal decorations, and heavy-duty boots. Entertaining enough, but how much “authentic” is questionable, if only one checks Senesino’s portrait as Bertarido in the flamboyant livery of a Hungarian haiduk, as painted by John Vanderbank in 1725. At the most, this is Regietheater that dare not speak its name, a compromise likely to dissatisfy modernists and authenticists alike.

The show’s musical side was far more convincing, with the Swiss conductor Diego Fasolis succeeding to elicit from the festival orchestra — equipped with modern instruments plus harpsichord, theorbo and Baroque flute — a sound that was both luscious and historically informed. Within an evenly balanced company, the Argentinean alto Franco Fagioli (Bertarido) towered for projection, agility, seamless transition between registers, unfailing musicianship. His manly color and stage charisma may set a new standard among countertenors. As Rodelinda, mezzo Sonia Ganassi tended to underact throughout and suffered some strain in the upper register. For her convenience, a couple of high pitches were transposed an octave lower, and her whole climactic aria “Ombre, piante” was set in G minor instead of the original B minor. Nevertheless, she sang with an elegant restraint hitherto unnoticed in her main repertoire, stretching from Rossini and Donizetti to Massenet.

Her sister-in-fiction Eduige (the established Baroque specialist Marina De Liso) outplayed her as to style awareness, consistently unfolding hot temperament and fanciful coloratura. On the contrary, both the villain Grimoaldo (Paolo Fanale) and the arch-villain Garibaldo (Gezim Myshketa) were absolute beginners in the field of early opera, yet delivered their fast runs and stalking utterances pretty nicely. A further pleasant surprise was the male alto Antonio Giovannini, who lent the loyal Unulfo mellow color, tasteful da capos and lots of acting stamina, particularly in the alternative E-minor version of “Sono i colpi della sorte” after the Hallische Händel-Ausgabe (HHA).

To many affectionate Handelians, the opportunity to hear this and some more passages restored to the composer’s final intentions was a novelty. Yet the claim of a “world premiere in Andrew V. Jones’ critical edition” is mere pressroom hype. The actual premiere with HHA material before official publication was in Glyndebourne 1998, followed by the Göttingen Händel-Festspiele in 2000 and sundry houses worldwide. Anyway, the new artistic manager in Martina Franca, Mr. Alberto Triola, can rightfully boast for bringing to attention a dramatic masterpiece which, despite its Italian subject, was hitherto neglected by the major opera theaters in Italy.

Carlo Vitali

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):