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 Reviews

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

A Winter's Tale: a world premiere at English National Opera

The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.

Wexford Festival Opera announces details of 2017 Festival

Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

Oxford Lieder Festival 2017: Gustav Mahler and fin-de-siècle Vienna

Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

OPERA TODAY ARCHIVES »

Reviews

Micaela Carosi as Aida [Photo courtesy of San Francisco Opera]
21 Sep 2010

Aida in San Francisco

Opera as circus. The current San Francisco Aida comes from the English National Opera where an inspired and probably very excited administrator proposed a production by aging London fashionista Zandra Rhodes.

Giuseppe Verdi: Aida

Aida: Micaela Carosi; Amneris: Dolora Zajick; Radames: Marcello Giordani; Amonasro: Marco Vratogna; Ramfis: Hao Jiang Tian; The King of Egypt: Christian Van Horn; Priestess: Leah Crocetto; Messenger: David Lomelí. Conductor: Nicola Luisotti. Director: Jo Davies. Production Designer: Zandra Rhodes. Lighting Designer: Christopher Maravich. Original Choreographer: Jonathan Lunn. Revival Choreographer: Lawrence Pech.

Above: Micaela Carosi as Aida
br/>All photos courtesy of San Francisco Opera

 

The program booklet credits include her various hair colors (“bright green later changed to a spectacular pink, sometimes radiant red”). Mme. Zandra, approximately 70 years of age according to the program booklet, was aided by British stage director Jo Davis whose credits include Chitty Chitty Bang Bang in the West End.

Gio2.gifMarcello Giordani as Radames

These ladies are nothing if not clever. They dealt with Verdi’s problematic three-ringer in a very business like fashion (among Mme. Rhodes listed credits is her successful retail outlet in fashionable Fulham Road). More often than not Verdi’s delicate masterpiece is crushed by its own weight (six big singers working out a sordid political mess caused by some runaway passions and a great big military victory, the situation finally resolved by sheer fatigue — that of the lovers themselves and invariably of the audience too).

The fatigue factor was very nearly solved by mesdames Rhodes and Davis who kept things moving right along by a pyramid shape that expanded and contracted according to moods and situations (the shutters closed completely, finally, on the dying lovers). Sometimes one of the triangle of lovers was left alone on the apron against blank, dark scenery to tell us a few things in private, and once the stage was opened up totally in blank white in stark contrast to the bright greens, spectacular pinks and radiant reds of an unusually flamboyant, 1960’s sensibility Egypt.

All this slick theatricality was unfettered by concept save the presence of the wrathful eye of Horus that oversaw much of the action and cleverly doubled as decoration too. The lower portion of Horus’ priests were covered by wide gold lamé skirts leaving the priests naked from the waist up (and that was a sight to see), coiffed by the appropriate falcon headdress. The Ethiopians and particularly Aida’s father Amonasro were spectacularly savage à la American indian or maybe Australian aboriginal, comically light years away from tall, proud, black Ethiopians who might have seemed actually threatening.

GioCar.gifMarcello Giordani as Radames and Micaela Carosi as Aida

All this was overseen by San Francisco Opera’s extraordinary music director, Nicola Luisotti who probably saw nothing of the above having maneuvered his singers out onto the stage apron where alone, in pairs, trios, etc., he vindicated the idea of the traditional Italian “numbers” opera and reinvented the idea of the “costume” opera (characters are identified by their costumes rather than by what they do). This positioning was ideal for Mo. Luisotti to commune with Verdi and with great big voices, and to create as much effect as possible. Suffice to say that the effect was in fact very nearly maximum, held back only by the fuzzy acoustic of the War Memorial Opera House.

So it was a great evening that teased critical sensibility, seamlessly morphing in and out of tongue-in-cheek caricature of spectacle opera to just plain big, thrilling opera like opera once was, or so we are told.

Zajick2.gifDolora Zajick as Amneris

Diva Dolora Zajick spat and soared in fine voice as Amneris, upholding her by now very long held reputation as the Amneris of our day. She was in ideal concert with the big musical and vocal ideas of the maestro and perfectly at home in the costume opera concept (a big blue dress with a huge sphinx like headdress). Mme. Zajick in fact and against all odds almost succeeded in making Amneris a living, feeling character, this achievement the magic of a true artist.

Likewise tenor Marcello Giordani and soprano Micaela Carosi, the ill-fated lovers, held their own with the maestro, Mr. Giordani bravely donning a truly ridiculous, unflattering warrior skirt while traversing the tenorial tessitura with ease and stylistic aplomb. Mme. Carosi soared to some beautiful pianissimos in the upper-most soprano registers, often the undoing of lesser singers, and otherwise exploited all Italianate mannerisms with conviction. Neither Mme. Carosi nor Mr. Giordani approached the vulnerability or sympathy of their characters, leaving the stage to Mme. Zajick.

Vratogna.gifMarco Vratogna as Amonasro

Baritone Marco Vratogna was puzzling as Amonasro. In his peculiar way-over-the-top costume he was inherently silly, and he delivered his role in a complementary fashion. He proved himself an excellent artist last season as Iago, thus the question remains whether he was directed into this strange histrionic performance or if he came up with it himself. The King of Egypt and the priest Ramfis were well sung respectively by Christian Van Horn and Hao Jiang Tian and were less controversial.

No account of an Aida production can avoid the triumphal scene. It moved quickly thanks to Mo. Luisotti and the mesdames Rhodes and Davis. They went for pure circus, complete with acrobats, a family dancing act and even the de rigueur elephant, here a whimsical, gossamer blue concoction that crowned the wit and fun of these clever ladies. The usual hundreds of supernumeraries had been reduced to a mere thirty-three, and there were no cuts. The scene flew by.

Michael Milenski

Click here for a photo gallery and video excerpts.

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):