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

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

Danielle de Niese as Susanna and Luca Pisaroni as Figaro [Photo by Cory Weaver courtesy of San Francisco Opera]
11 Oct 2010

Marriage of Figaro in San Francisco (and Los Angeles)

No question that Nicola Luisotti is a conducting genius, and no question that genius runs amuck from time to time. In the case of Mo. Luisotti fairly often.

W. A. Mozart: Marriage of Figaro

Figaro: Luca Pisaroni (9/21 - 10 - 5) / Kostas Smoriginas (10/10 - 10/22); Susanna: Danielle de Niese (9/21 - 10 - 5) / Heidi Stober (10/10 - 10/22); Countess Almaviva: Ellie Dehn; Cherubino: Michèle Losier; Count Almaviva: Lucas Meachem (9/21 - 10 - 5) / Trevor Scheunemann (10/10 - 10/22); Marcellina: Catherine Cook; Don Basilio: Greg Fedderly; Doctor Bartolo: John Del Carlo (9/21 - 10 - 5) / Dale Travis (10/10 - 10/22); Don Curzio: Robert MacNeil; Barbarina: Sara Gartland. Conductor: Nicola Luisotti. Director: John Copley. Lighting Designer: Christopher Maravich

Above: Danielle de Niese as Susanna and Luca Pisaroni as Figaro

All photos by Cory Weaver courtesy of San Francisco Opera

 

The September 23 performance teetered on the edge of madness with the overture used as a projectile to ignite the eighteenth century social unrest that is Le nozze di Figaro. The unrest was not only social, it was also musical for the porcelain-like figurines who embodied Mozart’s by now mythical characters. Their struggle, usually successful, to keep apace with the musical force was heroic, with even unexpected fruits — beautiful agogic accents occurring when a voice fell slightly behind the beat.

If Mo. Luisotti unabashedly strives for effect, its motivation is musical and not mere showmanship. The maestro here met his match in the case of his Susanna, Danielle de Niese and his Figaro Luca Pisaroni, the play of tempos with vocal line was even sublime. The exposition of the story in the first scene was a masterpiece.

_MG_7953.gifEllie Dehn as the Countess and Lucas Meachem as the Count

John Copley staged the opera. Mr. Copley is the most musical of directors, merging word and vocal line with movement in perfect concert with storytelling. It is manifest in continuous movement and dramatic flow which was exemplary Copley in the performances of this Susanna and Figaro. Indeed throughout much of the first act and with all of the cast a sense of uneasy perfection prevailed amongst pit, voice and stage.

The maestro’s illumination of musical line and the visual artifice supplied by Mr. Copley created the abundance of detail that resulted in the figurine quality of the cast. Gracefully dominated on September 23 by Mlle. de Niese and Mr. Pisaroni it was otherwise an ensemble cast of gifted singing actors — Michèle Losier as Cherubino, Lucas Meachem as the Count and Ellie Dehn as the Countess, with grand, experienced performances by Catherine Cook as Marcellina, John Del Carlo as Dr. Bartolo and Greg Fedderly as a stylistically exact Basilio.

The sense of exquisite detail that prevailed extended to the smallest roles — a rashly drunk Antonio sung by Bojan Knezevic and the Don Curzio sung by Robert MacNeil.

All this surface artifice played against a vaguely house-like wooden structure that was vaguely indoors/outdoors as needed, and it could also be used for Barber and Falstaff or Turn of the Screw for that matter (best not to mention this to SFO MBA David Gockley). It was built in 1982 for another director and already once visited by Mr. Copley before being taken over by legendary Susanna, Graziella Sciutti turned stage director. Surely it will now go directly from the War Memorial to the dump.

Mo. Luisotti exposed very nimble fingers at the continuo fortepiano, and nimble musicality superimposing a bit of Lohengrin, snatches of Mozart piano sonatas plus a touch of Eine kleine Nachtmusik (and who knows what else) from time to time. Everyone was having so much fun that when things got serious things fell apart. The second part (the third act) brings the big showpiece arias that require big artists to command big theaters. It was beyond the scope of this fine cast who had so brilliantly executed the ensembles of the first part (acts one and two).

_MG_6464.gifDanielle de Niese as Susanna and Michèle Losier as Cherubino

To the delight of everyone the maestro and the director exploited the agility of this responsive cast to the degree that when Count Almaviva knelt to beg forgiveness we all laughed because we were so used to being amused by the musical and physical antics. Of course this moment is deadly serious, and after the fact the maestro did try to save the day by imposing a sudden largo. It was too much too late.

After its Ring cycle last spring Los Angeles seemed like the big time, operatically speaking. Its concurrent (to San Francisco) Marriage of Figaro has confused this perception. Seen October 6 three new cast members (Susanna, Marcellina and Barbarina) were being integrated into the cast. This situation alone was sufficient to distort its staging rhythm.

The Marriage of Figaro is central to the repertory of all opera companies. In 2004 L.A. Opera unveiled this Ian Judge production (in its initial years L.A. had relied on the Peter Hall production from Chicago). Now six years later the Judge production still passes as a contemporary statement, needing only a cast and conductor to bring it alive.

Designed by Tim Goodchild (a Brit with extensive theater credentials, like Mr. Judge) it is business like — a back wall of a different saturated color for each scene, a few chandeliers coming and going, and sensibly enough a house on an horizon (like TV’s Dallas) overlooking an extensive dark park illuminated by a huge moon (yes, it is very Halloween though surely this is not its intention).

The costumes, designed by Diedre Clancy, another of our mainstream British cousins, made up in slickness what they may have lacked in inspiration. Clever and surprisingly harmonious was the mix of styles and periods. Not to mention Mr. Judge’s tricky use of a telephone in the Countess’ bedroom and flashlights in the garden in this predominantly period production.

All this high style was not requited by either the conducting or the singing. Placido Domingo was in the pit, by now a very beloved L.A. personage it seems judging from the huge ovation awarded him. In the first part (acts one and two) he imposed tempos that were quite convenient for the singers but lacked the Mozartian impudence that keeps Figaro forever alive.

If the first part of Figaro is about Mozart the second part (acts three and four) is about singers as each are awarded a showpiece aria. Here Domingo was right on with the evening’s stars — Bo Skovhus as the Count and Martina Serafin as the Countess — giving them everything they needed to tear up the stage. And that they did, Mr. Skovhus, though small of voice managed some elegant musicianship rushing back and forth across the stage. Mme. Serafin, of big, very big voice, musically well controlled to be sure was a far more determined Countess than a reflective one (after all la Serafin is usually a Tosca).

These larger scaled performances established an emotional focus for Mozart’s comedy that brought to mind the silly notion that The Marriage of Figaro is the perfect opera. But to subvert any attempt at a perfect realization L.A. Opera succumbed to the too prevalent practice of sending boys in to do men’s work, i.e. expecting talented young singers from an apprentice artist program to embody important Mozartian personalities, and otherwise entrusting character roles to unseasoned artists.

Rebekah Camm gave a fine performance as Susanna, though she does not look like a typical Susanna, and as well she was stepping into a part already staged for another singer (Marlis Petersen sang the first three performances). Daniel Okulitch fulfilled the basic needs of the Count’s major factotum without imparting grand personality and Renata Pokupic made a convincingly adolescent Cherubino.

On October 10 San Francisco Opera introduced four new singers into the last three of its nine performances of Le Nozze — Kostas Smoriginas as Figaro, Heidi Stober as Susanna, Trevor Scheunemann as Almaviva and Dale Travis as Bartolo.

For messieurs Scheunemann and Travis the transition was seamless, both artists blending into the ensemble and upholding its precision. Mr. Smoriginas and Mlle. Stober introduced their own particular tonalities. Both are very warm performers with strong voices, who found themselves at odds with the maestro in the opening scene. A compromise seemed to be reached soon enough resulting in convincingly human performances from these two artists that took the Copley production to another level.

In the end we still did laugh when the Count knelt to beg the Countess’ forgiveness, but in this performance Mo. Luisotti grasped the depth of meaning in this gesture, and infused a warmth and understanding into Mozart’s music that exponentially complicated the situations of the four sets of lovers lined across the stage. This unexpected realization spread slowly through the audience as the last ensemble unfolded, leaving us again smitten by this astonishing work of art.

Michael Milenski

Los Angeles Cast:

Figaro: Daniel Okulitch; Susanna: Rebekah Camm; Count Almaviva: Bo Skovhus; Countess Almaviva: Martina Serafin; Cherubino: Renata Pokupic; Marcellina: Tracy Cox; Doctor Bartolo: Alessandro Guerzoni; Don Basilio: Christopher Gillett; Antonio: Phiilip Cokorinos. Conductor: Plácido Domingo. Director: Ian Judge. Scenery Designer: Tim Goodchild. Costume Designer: Deirdre Clancy. Lighting Designer: Mark Doubleday. Choreographer: Sergio Trujillo

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):