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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

OPERA TODAY ARCHIVES »

Reviews

Placido Domingo as Pablo Neruda and Cristina Gallardo-Domas as Matilde Neruda [Photo by Robert Millard courtesy of Los Angeles Opera]
24 Oct 2010

Il Postino at Los Angeles Opera

An American opera house premieres a new work by a Mexico-born composer, to his own libretto in Spanish based on a film in Italian by an English director about an unlikely friendship the Chilean poet Pablo Neruda found when in exile on a small Italian island.

Daniel Catán: Il Postino

Pablo Neruda: Plácido Domingo; Mario Ruoppolo: Charles Castronovo; Beatrice Russo: Amanda Squitieri; Matilde Neruda: Cristina Gallardo-Domas; Donna Rosa: Nancy Fabiola Herrera; Giorgio: Vladimir Chernov. Conductor: Grant Gershon. Director: Ron Daniels. Scenery and Costumes Designer: Riccardo Hernandez. Los Angeles Opera.

Above: Placido Domingo as Pablo Neruda and Cristina Gallardo-Domas as Matilde Neruda

All photos by Robert Millard courtesy of Los Angeles Opera

 

Such wonderfully polyglot origins promise a more original and creative opera that Daniel Catán’s Il Postino turns out to be (Catán chose to keep the original Italian title). However, with Placido Domingo’s starpower and an endearing portrayal of the title character by Charles Castronovo, the Los Angeles Opera audience on the second night of the opera’s premiere run found much to applaud.

Catán is best known for Florencia en el Amazonas, his 1996 work that has enjoyed a fair number of performances since its debut, although a house as prestigious as the Metropolitan Opera, for example, seems to have no interest. Reviews of Catán’s music for his latest work still rely on comparisons to more famous composers for reference. The strongest element of Il Postino’s score is rhythmic; Catán often employs unusual meters and phrasing that give a sort of stutter-step feel to some of the music. His orchestration is colorful, if somewhat reliant on string outpourings at moment of dramatic and romantic effusion. Somehow he manages the trick of writing music with a melodic tinge without actually creating any strong melodic ideas. An impassioned rising motif that slowly resolves to the tonic pops up fairly frequently in the score, especially in the music for Mario Ruoppolo, the title character. Unfortunately, this one bit really does sound like Puccini - specifically, like a phrase from the score for La Rondine. Other than that, it’s wrong to call Catán’s music Puccini-esque - Catán has neither the melodic facility or grasp of using music to push the drama forward, rather than merely underscore it. If comparisons must be made, your reviewer heard a fair amount of Copland-like dance rhythms and sparse but attractive harmonies.

But his music is stronger than his libretto. The first two acts were given without intermission, and Catán chose to follow a screenplay’s quick changing scene formulation. So first we meet Mario at his humble home, and then from backstage a simple set rolls out depicting Neruda’s home in exile. This happened over and over, while a rather banal love story for Mario and a superfluous subplot about a corrupt politician and the island’s water supply interrupt the growing bond between the famous poet and his naive but charming postman. The last act’s storytelling really gets crude, with Vladimir Chernov’s Giorgio running on every couple minutes with some news about Neruda’s travels away from the island, and even a couple of awkward news-reel interpolations.

Still, by the time of the final scene, some emotional weight has been earned, and when the regretful Neruda is joined on stage by Mario (even though the character has died off stage at this point), most any viewer will be moved. Catán’s music is also at its best here - he stops trying to force a climax and lets the gentle story end with some lovely soft singing from the two male leads.

Domingo was excellent in the role of Neruda, although the lower part of his voice was surprisingly weak, given his recent forays into baritone territory. Catán gives all the main characters aria-like moments, and Domingo’s Neruda starts off with a hymn to his wife’s naked body. In fact, Neruda in the opera comes off as more than a bit self-involved and self-pleased, making Mario’s affection for the famous older man seem just a bit odd and obsessive. Nonetheless, Charles Castronovo, light-voiced though he may be, made his simple, love-besotted postman a real figure. The original casting had set Rolando Villazon for the role, who might well have covered the character's pathos with on-stage hi-jinks. As Mario’s love interest Beatrice, Amanda Squitieri sang out, sometimes covering her tenor co-star. Her opening aria, a self-introduction, is one of Catán’s weaker moments - dramatically inept and unmemorable musically. Cristina Gallardo-Domas has little to do as Neruda’s wife, and Nancy Fabiola-Herrera, as Beatrice’s gun-toting mama, got a few laughs.

pstn5103.gifAmanda Squitieri as Beatrice and Charles Castronovo as Mario Ruoppolo

Conductor Grant Gershon managed the trickier rhythms of the score well. Director Ron Daniels couldn’t do much to ameliorate the wearing effect of the frequent scene changes, but he did elicit strong acting performances from the singers. Riccardo Hernandez created some nice costumes, but Los Angeles Opera’s budget restraints didn’t give him much to work with. In act three the budget seems to have run out altogether; other than a ridiculous set of pipes for the promised water system, the act mostly plays out on a bare stage, with some unimpressive projections and newsreel footage (designed by Philip Bussmann).

If Domingo chooses to, he can take Il Postino around the world to some of the more prestigious opera houses. It’s certainly a pleasant show, even a crowd-pleaser. But the opera’s long-term prospects don’t seem any more promising than those, say, of the U.S. Postal Service.

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):