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 Performances

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 »

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):