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

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!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

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):