Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

OPERA TODAY ARCHIVES »

Reviews

Giacomo Puccini: Edgar
30 Aug 2010

Puccini’s Edgar at the Teatro Regio Torino

A world premiere of a new opera holds the promise of an exciting new addition to the fairly calcified collection of masterpieces that comprise the standard repertory.

Giacomo Puccini: Edgar

Edgar: José Cura; Fidelia: Amarilli Nizza; Tigrana: Julia Gertseva; Frank: Marco Vratogna; Gualtiero: Carlo Cigni. Conservatorio “Giuseppe Verdi” di Torino Boys’ Choir. Torino Teatro Regio Boys’ Choir. Torino Teatro Regio Chorus and Orchestra Yoram David, conductor. Lorenzo Mariani, stage director. Maurizio Balò, set and costume design. Christian Pinaud, light design. Recorded live from the Teatro Regio Torino, 2008.

ArtHaus 101378 [Blu-Ray]

$32.99  Click to buy

But opera companies have another strategy as well — to resurrect/rehabilitate forgotten works of proven masters. For Giacomo Puccini, the main beneficiary among his lesser-known operas has been La Rondine, a slight work with a mostly gorgeous score that has enjoyed a growing number of performances in recent years. Puccini’s extremely negative recorded comments on his first full-length opera, Edgar, seem to have kept the inquisitive away. The chief revelation of this 2008 Teatro Regio Torino staging of the full four-act Edgar is how right Puccini was to dismiss the work as hopeless. That does not mean, however, that the resulting DVD isn’t of interest. With strong male leads and a colorful, handsome staging by Lorenzo Mariani (with costumes and sets by Maurizio Balò), this Edgar makes for a mostly entertaining show.

After the initial failure of Edgar, Puccini convinced his publisher to find him another librettist than Ferdinado Fontana, indicating the theatrical sharpness that would guide the creation of the composer’s masterpieces to come. For Fontana, as judged by Edgar, was a hopeless librettist — narratively sluggish and prone to lumbering attempts at flights of poetry that never leave the ground. The opera’s basic story bears a strong resemblance to that of Wagner’s Tannhäuser — a young man can’t choose between a woman who excites him physically (Tigrana) and a more innocent woman who touches his heart (Fidelia). Fontana attempts a sort of love rectangle with the addition of Frank, another admirer of Fidelia who ends the opera at Edgar’s side, helping to restore Edgar’s reputation after his dalliance with Tigrana and flight to the army has led him to fake his own death. The story veers between being oppressively obvious and elliptically obscure. Later Puccini works would show the composer comfortable with sharp changes of mood and place between acts that require an audience to “catch up” with the story. That strategy doesn’t work here because the characters in Edgar, hobbled by Fontana’s verse, haven’t made a claim on the audience’s involvement.

José Cura’s portrayal of Edgar gains strength as the character darkens; the callow youth of the opening scene doesn’t fit him as well. The voice is as idiosyncratic as ever, with lines of forceful energy interspersed by unfortunate growls and yelps for high notes. A less charismatic tenor might sing the entire role better, but really only a stage animal like Cura has a chance of making the character believable at all. Cura is well-partnered in several key scenes by Marco Vratogna’s Frank, a very masculine and credible rival and, later, friend of the hero. Frank has a brief solo early on and not much of interest to sing after that, but Vratogna manages to hold his own anyway.

The two key female roles are less happily cast. Julia Gertseva has no choice but to ham up the overtly sexual, murderously jealous Tigrana. She is at least fun to watch and sings with attractive tone. As Fidelia, Amarilli Nizza never recovers from a long opening scene where her soprano sounds overly mature and strained. She does somewhat better in the last act, but her character’s passivity has long wore out her welcome by then.

Although the full blossoming of Puccini’s melodic talent was yet to come, much enjoyable music can be found in the score. Unfortunately, conductor Yoram David and the Torino forces sound tentative and undernourished. Be prepared, by the way, in the fourth act (discarded fairly early on by Puccini) to hear a great deal of the last act duet between Tosca and Cavaradossi.

Strangely, Richard Eckstein’s booklet essay ends abruptly with an ellipsis. Before that sudden conclusion, the writer covers the errant history of the opera satisfactorily. The Blu-Ray edition does a great job of presenting the bold colors and designs of the set and costumes. Only historical accuracy can explain the bizarre helmet of crow feathers Vratogna’s Frank and other soldiers have to sport in the third act.

Put the disc in your player expecting no more than some occasional patches of fine music and a great deal of insight into the early stages of Puccini’s career, and this Edgar will justify its existence.

Chris Mullins

 

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):