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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

OPERA TODAY ARCHIVES »

Reviews

Gioachino Rossini: Otello
10 Oct 2010

Rossini’s Otello at Rossini in Wildbad Festival, 2008

As good a performance of Rossini’s opera as this disc provides, for some equal entertainment value may potentially arise from the booklet essay by one Bernd-Rüdiger Kern (as translated into English by David Stevens).

Gioachino Rossini: Otello

Otello: Michael Spyres; Desdemona: Jessica Pratt; Jago: Giorgio Trucco; Rodrigo: Filippo Adami. Virtuosi Brunensis. Conductor: Antonino Fogliani.

8.660275-76 [2CDs]

$16.99  Click to buy

In explaining the relative obscurity of Rossini’s version of Shakespeare Moorish tragedy, Kern contradicts himself more than once, often within a couple lines: “It is still performed widely in the opera-houses of today” is soon followed by “Revivals of Otello in the modern era, the first of which took place as late as 1954, have not been so numerous as might have been expected.”

Exactly whose expectations that may be, other than the writer’s, remains unclear. Even if one proposed the tragic loss of Verdi and Boito’s masterpiece from the canon, Rossini and librettist Francesco Maria Berio di Salsa’s version would probably be no more frequently staged today than, say, Zelmira or Semiramide (even Kern admits that in the years just before Verdi's Otello, Rossini’s version had already become a rarity). The style and tropes of Rossini’s “serious” operas simply haven’t aged well, and whereas patches of indifferent music don’t really hurt the comedies much, the lack of dramatic tension in the serious operas can make for some sad musical longueurs.

The problem in the first two acts in particular is that the rigorous demands of opera construction at the time mean that the story advances oh so slowly, as each character is introduced and has his or her own number. By act three, however, Rossini is at his best, and the loveliness of Desdemona’s final scene really does rival that of Verdi’s. Jessica Pratt takes this role and exhibits a warm, sweet voice of real quality. Among a large group of high-lying tenors, Michael Spyres in the title role stands out with a richer, more baritonal quality. His scenes with Jago, another tenor, don’t have the fierceness of those between Verdi's Otello and Iago, however. There is no Cassio in this fairly different telling of the story; Rodrigo has a significant part, and Filippo Adami — yes, another tenor — has a pointed, tart voice perfect for the role.

This is a live recording, from the 2008 Rossini in Wildbad Festival. Don’t worry about the defects of many live recordings — stage noise is minimal, and voices are well-captured in a natural mix with the orchestra. Antonino Fogliani leads the Virtuosi Brunensis forces, and they produce a warm, propulsive account, although not always with perfect intonation.

Intrepid shoppers may be able to find the studio version of this opera from a couple decades back, with Jose Carreras. For anyone else interested in this rarity, this version should suffice. The cast may not be familiar, but they are fresh and dedicated to their roles. And then there’s the Naxos price. No libretto is included; the essay joins a detailed synopsis and artist biographies, in English and German.

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):