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

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

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.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Plácido Domingo as Rigoletto
08 Sep 2010

Unique Rigoletto live from Mantua

Realism never comes more authentic than this RAI Rigoletto filmed live on location in Mantua, Italy and broadcast simultaneously in 148 countries..

Giuseppe Verdi: Rigoletto

Plácido Domingo: Rigoletto; Julia Novikova: Gilda; Vittori Grigolo: Il Duca di Mantova; Ruggerio Raimondi: Sparafuclie; Nino Surguladze: Maddalena. Zubin Mehta, conductor, Orchestra Sinfonica Nazionale della RAI. Andrea Alderrmann: Producer. Mario Bellochio: Director. Vittorio Storare: Cinematographer. Filmed live in Mantua via RAI, Radiotelevisione Italia, 3-4th September 2010.

Above: Plácido Domingo as Rigoletto

 

Verdi’s stage directions are so faithfully followed that the performance took place over two days. Just as Verdi indicated, each Act unfolds at the correct time of day, in the places indicated in the libretto. Ultimate veracity to script.

No ordinary theatre has the capacity to create a production as loyal to the composer’s instructions as this. This is the real Palazzo Ducale di Mantova. No two dimensional theatre set could hope to replicate the possibilities filming in real space can offer. The Palace is a maze of different buildings connected by alleyways and courtyards. A metaphor for the complex relationships within the Court, where nothing is quite as simple as might seem.

Real Renaissance staircases and hallways, real marble parquets. Frescoes painted by 15th and 16th century masters. Real antique tapestries and furniture. No opera house workshop would even dream of competing with Mantegna or Corregio. Design doesn’t get more perfect than this.

Yet the production resists the temptation to linger on these riches. The focus is resolutely on the opera itself, which is as it should be. Film offers possibilities which expand the impact of any opera. At the ball in Act One, for example, the camera shoots the dancers from above, so we can appreciate the intricate choreography. It’s not just for show, since intrigue at Court is like a dance, with death for those out of step. Rigoletto mocks Count Monterone but soon it will be his own turn to be trounced.


Film enables commentary without interrupting action. Plácido Domingo runs from the courtiers into the room with the famous Mantegna ceiling, painted to look as it if opens onto the sky. It’s trompe l’oeil, deliberate illusion, reversing the natural order. The Dukes of Mantua looked on it as a joke. Rigoletto has no illusions. For him, life is a bad joke. He has to play the fool to survive. Domingo’s face twists in anguish, but for a moment his head is framed against Mantegna’s golden circle, like a halo.

Similarly, the film adds to the portrayal of Gilda. The character’s a mystery. She’s her father’s daughter because she’s inherited his extreme personality. Ten years ago, Christine Schäfer created a Gilda who exploded with passionate heroism. Julia Novikova is much too young and inexperienced to attempt such intensity. Instead Director Marco Bellochio makes her innocence a positive feature. She’s filmed in a room of Lucca della Robbia medallions, depicting the Madonna and Infant Jesus. Gilda’s grown up in isolation. Her only references to life come from religion. Other girls might be wary of blind faith, love, sacrifice and death, but Gilda never questions. The very purity Rigoletto hoped would protect her becomes his defeat.

Plácido Domingo chooses to sing Rigoletto perhaps because the tessitura in the first Act lies close enough to his range that it’s not much of a challenge. Later, when the part darkens, he relies more on the integrity of his acting. Rigoletto is growing old, ravaged by a lifetime of pretending to be what he isn’t. Domingo’s growing old, too, at last able to release his “Inner baritone” not so much through vocal perfection but through the authenticity of his acting.

His performance is artistically valid because he’s creating the character intuitively. Film helps moderate the experience, focusing close-up on his mobile facial muscles, so expressive that even if his vocal chords aren’t what they were, you’re drawn through other means to a true portrayal of Rigoletto’s personality.

Vittorio Grigolo, hot new favourite, comes over very well indeed as the Duke of Mantua. He’s a film natural, good looking and sexy, moving as if he inhabits this set like he was born to it. Interesting warm voice, with potential.

Faithful as this production is to script, following directions too literally leads to problems in Act Three. Verdi wanted a night-time atmosphere but being too literal means the action is fatally obscured. Ruggerio Raimondi’s Sparafucile impresses because he’s indoors where there’s light, an interesting reversal of his first appearance in the dark alley.

The final scene, where Rigoletto finds his daughter again is too shrouded. On conventional stage, it would be completely lost. Here, it’s done via close-ups that can be easily lit. In a sense it’s psychologically true, since Rigoletto is now truly alone, but it doesn’t make for good theatre.

Producer Andrea Alderman and this team created the 1992 Tosca filmed on location in Rome, with Domingo as Cavaradossi and Ruggerio Raimondi as Scarpia. Twenty years on, technology and telecommunications are much more sophisticated. Still, the logistics are such that it’s amazing there weren’t more technical hitches, especially as this was live, with no room for correction.

Zubin Mehta didn’t conduct at the scene where the singing was being filmed. He and the orchestra were in the building nearby, so there was simultaneous transmission, apparently by state of the art techniques, between orchestra, singers and film crew. It’s certainly not unusual these days for performers to communicate via TV monitors, so the slight discord between Mehta’s pace and the singing stemmed more from his tempi than from the medium itself.

This film, in any case, isn’t supposed to replicate studio conditions. Nowadays, operas aren’t filmed in sterile conditions, but as they happen on stage (even if they’re carefully edited). There are compensations, like greater spontaneity, which are closer to real experience in an opera house, where things aren’t necessarily perfect every time. Films like these are an extension of the process.

Imagine the technical, legal and logistic nightmares that were involved making this. Insurance and government clearance must have been hard to negotiate. International simultaneous broadcast to organize. The wonder is that more didn’t go wrong.

We can see stage performances of Rigoletto any time, but we’ll never see another production quite like this. This ambitious venture is unique.

Anne Ozorio

Click here for a video clip.

Click here for a photo array of this production.

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):