Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

Three Centuries Collide: Widmann, Ravel and Beethoven

It’s very rare that you go to a concert and your expectation of it is completely turned on its head. This was one of those. Three works, each composed exactly a century apart, beginning and ending with performances of such clarity and brilliance.

Seventeenth-century rhetoric from The Sixteen at Wigmore Hall

‘Yes, in my opinion no rhetoric more persuadeth or hath greater power over the mind; hath not Musicke her figures, the same which Rhetorique? What is a but her Antistrophe? her reports, but sweet Anaphora's? her counterchange of points, Antimetabole's? her passionate Aires but Prosopopoea's? with infinite other of the same nature.’

OPERA TODAY ARCHIVES »

Performances

Marcos Portugal. Anonymous miniature dating c.1790-1795 [Source: Marcos Portugal]
11 Oct 2010

The Other ‘Marriage of Figaro’

The opening night of Rossini’s The Barber of Seville, in Rome in 1816, was violently disrupted by vociferous protests from supporters loyal to Paisiello, whose own comic interpretation of Beaumarchais’ politically-charged play had appeared in 1782.

Marcos Portugal: The Marriage of Figaro

Figaro: Nicholas Merryweather; Susanna: Emily Rowley Jones; Count Almaviva: John-Colyn Gyeantey; Countess Almaviva: Lisa Wilson; Cherubino: Joana Seara; Dr Bartolo: Mark Saberton; Marcellina: Cara Curron; Don Basilio: Robert Winslade Anderson; Antonio: Edmund Connolly; Cecchina: Caroline Kennedy. Conductor: Robin Newton. Director: Jeremy Gray. Bampton Classical Opera with the London Mozart Players. St John’s Smith Square. Thursday 7th October 2010.

Above: Marcos Portugal. Anonymous miniature dating c.1790-1795 [Source: Marcos Portugal]
All photos by Anthony Hall courtesy of Bampton Opera

 

Fortunately, Bampton Classical Opera’s presentation of a ‘rival’ The Marriage of Figaro, by the little-known Portuguese composer, Marcos Portugal (1762-1830), was not interrupted by raucous complaints by die-hard Mozartians. Given its UK première in the Deanery Gardens at Bampton in July this year, this is believed to be the first production of this witty and effervescent opera since its première during the Venetian Carnival season of 1800.

Gaetano Rossi’s libretto essentially preserves Da Ponte’s familiar plot and structure, a fact which is not surprising given that at this time it was common for libretti to circulate independently of their accompanying scores. Gilly French’s and Jeremy Gray’s translation was typically witty and droll, some self-conscious rhymes (fractious/anxious) and slick one-liners adding to the air of frivolity and recklessness.

_MG_1735.gifNicholas Merryweather as Figaro and Emily Rowley Jones as Susanna

The plot may be immediately recognisable but the characters wear different musical costumes. The young cast were uniformly accomplished and committed; theatrically convincing and consistent, they really entered the spirit of piece, indulging its light-weight humour but also intimating its darker currents. There was a spontaneity and freshness about the on-stage choreography: thus, the ‘parade’ of characters during the overture, which might have seemed contrived, in fact captured a naturalist ‘busyness’ and sense of domestic intrigue. We were given a series of miniature cameos — a sort of cinematic role call — immediately and economically capturing each character’s essential temperament: Figaro’s confident ingenuity, Susanna’s cleverness, Bartolo’s grumpiness and the Countess’s quiet gravity.

Performing his second Bampton Figaro (he appeared as Paisiello’s barber in 2005), Nicholas Merryweather stood out: clear, firm and relaxed of tone, his diction was superb (no mean feat in this venue) and he exhibited a musical and dramatic confidence and ease which surely indicate great successes to come. In his programme notes, David Cranmer explains that, even if Portugal had been familiar with Mozart’s score, it would not have served as a good musical model, for his concise arias — with their energetic accompaniments — would not have provided sufficient opportunity for the singers to show off their virtuosity. Portugal’s first Susanna was Teresa Strinasacchi, evidently a soprano of first-rate technique and expansive range; but Emily Rowley Jones had no difficulty dispatching the demands of Susanna’s sparkling coloratura. Her intonation was unfailing true and her tone engaging.

_MG_1818.gifJoana Seara as Cherubino

I first saw this production at Bampton Deanery Gardens, in July, a picturesque outdoor venue which was perfectly placed to capture the ambience of seductive conspiracy, and I was a little worried how it would transfer to the confined space at St John’s, with its theatrical restrictions and limitations. Interestingly, the result was in fact a tighter sense of theatrical timing and movement. Moreover, some of the characters seemed positively to benefit from the more intimate stage space — John-Colyn Gyeantey’s Count, in particular, presenting a much more focused reading of the role. The rather blundering buffoon-like figure from Bampton was here replaced by an angrier, more severe Count, of greater musical and dramatic stature. Previously, I had found his tone rather unyielding, but now he discovered a weight and compass which greatly enlarged the scope of the part and enhanced the dramatic tension.

The role of the Countess seems to have been constrained by the technical limitations of the first interpreter, Rosa Canzoni; and this is a shame as it would have been nice to have heard more of Lisa Wilson’s sweet, composed tone, which blended so beautifully with Rowley Jones in their Act 2 duet.

A gamine Joana Seara pouted and cringed as the frustrated, gauche Cherubino, but while her upper register dazzled, I sensed a slight hard-edge to her tone, particularly in Act 1. Robert Winslade Anderson bellowed warmly as the vivacious, mischievous music-master; Basilio’s drunken karaoke to the pleasures of women was riotously delivered, eliciting the snide put-down, ‘His music’s worse than Mozart …’ from a contemptuous Figaro. Mark Saberton’s Bartolo and Cara Curran’s Marcellina completed the gifted cast of principals; and Edmund Connolly (Antonio) and Caroline Kennedy (his daughter, Cecchina), delivered these minor roles in charming and accomplished fashion.

_MG_1859.gifJohn-Colyn Gyeantey as Count Almaviva

The sets were devised by Jeremy Gray, Mike Wareham and Anthony Hall, and the lighting design deserves especial mention, with its striking contrasts of bright complementary shades — deep blue suggesting the seductive light of the moon against a rich Seville orange evoking the balmy warmth of both the climate and burgeoning passions; emerald green intimating the cool composure of the Countess juxtaposed against deep purple suggestive of erotic ‘Turkish delights’.

The orchestral players were positioned behind the Moorish screens which effectively portrayed Almaviva’s Andalucian palace, but despite this placement, the ensemble between stage and ‘pit’ was surprisingly good; only occasionally did one or two of the singers slightly anticipate — which was surprising as Robin Newton, conducting the lucid, bright London Mozart Players, urged the action along at a brisk pace, whirling us through the first act and establishing an exciting dramatic momentum. Indeed effectively he revealed the dynamic quality of some of Portugal’s ensembles, particularly at the end of Act 1 and during the chaotic shenanigans of the Act 2 sextet.

Leaving the church, one patron was heard to remark, ‘I really hadn’t expected the music to be so good’. In fact, he should not have been surprised: Bampton Classical Opera are committed to reviving works of genuine musical and dramatic value. Their courageous repertoire is meticulously researched and selected, and thoughtfully and inventively staged.

_MG_1589.gifLisa Wilson as Countess Rosina

Bampton have give us Paisiello’s Barber and Gazzaniga’s Don Giovanni (1997 and 2004). What’s to come? A neglected Così? Portugal’s Figaro is unlikely to replace Mozart’s barber in the opera-going public’s affection, but his joyful opera is definitely worth hearing. It may lack the intensity of Mozart’s complex dramatic ensembles but its chain of charming arias and duets reveals rich musical resources and engaging invention. It is not merely a ‘curiosity’ but a work of considerable operatic merit — and it’s a pity that not more of the British opera press were here to enjoy it.

Bampton Classical Opera perform Thomas Arne’s The Judgement of Paris and extracts from Alfred at Wotton House, Buckinghamshire and The Holywell Music Room in November 2010. Gluck’s Il parnasso confuso will receive its UK première at the Purcell Room, London in June 2011; and at the Buxton Festival 2011 the company will present Cimarosa’s L’Italiana in Londra.

Claire Seymour

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):