10 Oct 2010
Technicolour Radamisto at ENO
Handel’s Radamisto came to the ENO at the Coliseum in glorious technicolour.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
Handel’s Radamisto came to the ENO at the Coliseum in glorious technicolour.
Images of Asia proliferate polygamously — Mughal India, Tokugawa Japan, and Chinese restaurant chic, tumbled randomly together. The text, of course, mentions Armenia. Visual indigestion, if you’re culturally aware. But to Handel and his audiences, specifics didn’t matter. Radamisto is a morality tale which transcends time and place.
Tiridate (Ryan McKinny) lusts for Zenobia (Christine Rice) who’s happily married to Radamisto (Lawrence Zazza). To win her he’ll drop his wife Polissena (Sophie Bevan) and usurp Farasmane’s kingdom (Henry Waddington). But Zenobia’s having nothing of it. She’d rather die than be unfaithful. Subplots and complications (they’re all family, for example) are decorative embellishments. The basic message is surprisingly simple: love overcomes all.
This fundamental chastity pervades the whole opera. Structurally, it’s very tight. In neat succession, set piece arias follow one another, allowing each singer to display his or her vocal virtuosity.Simplicity of form, allowing inventive elaboration without blurring the basic line. Much like the set designs. Despite being floridly over the top, these designs are much more minimal than appear at first.
Christine Rice as Zenobia and Lawrence Zazzo as Radamisto
Lawrence Zazzo’s Radamisto is superb. His tessitura isn’t forced but flows well, carefully modulated and well-judged, important in a role which stresses integrity. The extended rhapsody on honour is particularly striking, decorations extending each word, yet flowing naturally, without affectation. You marvel at the inventiveness, but also meditate on meaning. Honour does matter, Radamisto keeps saying as he and Zenobia amply demonstrate. These aren’t just “words”, dwelling on them serves a moral as well as artistic purpose.
The contrast between Radamisto and Tiridate is enhanced counterbalancing Zazzo’s countertenor with Ryan McKinny’s bass-baritone. In baroque, low voices often signify villains, but McKinny doesn’t overdo the inherent power in his voice. Instead he relies on subtle expression, using agile legato. In any case, refinement enhances the role. Tiridate holds a sword poised to kill Radamisto, but the long, lyrical elaboration deflects the menace, Reality, in Handel, is deeper than it seems on the surface.
Christine Rice is exquisitely dignified and gracious. In Carmen, she seemed inhibited, and even as Ariadne in Birtwistle’s The Minotaur she didn’t access the kinkier aspects of the role. As Zenobia, however, she’s ideal. Her patrician reserve perfectly fits the role, so she can create Zenobia’s compelling beauty with her voice. Sophie Bevan’s Polissena and Henry Waddington’s Farasmane impressed too. Ailish Tynan’s Tigrane reached notes higher than might be expected.
Scene from Radamisto
So what was my biggest misgiving about this production? David Alden depicts Tigrane as a grotesque, a camp cross between Sidney Greenstreet and King Farouk, but for no conceivable purpose. Is he trying to inject comic humour? Perhaps it works in a grubby sort of way but it jars with the noble import of this opera. The whole point, for Handel, was to edify. The idea of morality trouncing tyranny was inherently racy in a time when absolute monarchy still held sway. Besides, Tigrane is arguably a hero since it’s he who selflessly resolves matters. This portrayal is misogynistic and homophobic, completely pointless. Admittedly it was part of the 2008 Santa Fe premiere but it’s still deeply offensive and should be dropped.
What Alden lacks in sensitivity, Laurence Cummings made up for with the orchestra, who played with brio under his direction.