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 Performances

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

OPERA TODAY ARCHIVES »

Performances

Marcelo Álvarez as Manrico and Patricia Racette as Leonora [Photo by Ken Howard courtesy of Metropolitan Opera]
08 Nov 2010

Il Trovatore, Metropolitan Opera

It’s difficult to be reasonable about Il Trovatore. Reason is the last quality we expect from any of its characters or situations.

Giuseppe Verdi: Il Trovatore

Leonora: Patricia Racette; Azucena: Marianne Cornetti; Manrico: Marcelo Álvarez; Count di Luna: Željko Lučić; Ferrando: Alexander Tsymbalyuk; Inez: Renée Tatum. Production by David McVicar. Metropolitan Opera Orchestra and Chorus conducted by Marco Armiliato. Performance of November 3.

Above: Marcelo Álvarez as Manrico and Patricia Racette as Leonora

All photos by Ken Howard courtesy of Metropolitan Opera

 

They are extreme people, yielding unreflectively to extreme passions. Verdi’s score expresses just that element (richly evident in its source, a blood-and-thunder Gutierrez drama somewhat watered down for the libretto in order to appease papal censors), and the singing should emerge with just this sort of unreasoning passion. We may not believe that X loves Y, but we ought to believe their minds are at fever pitch: “I’m going to hit that orgasmic high note if it kills me.” No, you never hear a Trovatore like that any more, but back when all theater was live theater and Il Trovatore was the most popular theater piece on Earth, that’s the sort of excitement you could hope for. If you want it now, you might want to check out the old RCA recording with Milanov, Barbieri, Bjoerling and Warren. And that was an everyday Metropolitan Opera cast!

The Met’s current David McVicar production in Charles Edwards’s unattractive but functional sets (time period: Spain during a civil war — any old civil war — there were plenty to choose from, but anyway it’s not the one in 1410 where Gutierrez set it) is not without its absurdities. (Why are all those floozies hanging around the soldiers’ camp, acting so very camp, when the general is formally reviewing his troops?) But the job gets done and sets up the singers to play their parts with minimal fuss.

TROVATORE_Tsymbalyuk_as_Ferrando_9901a.pngAlexander Tsymbalyuk as Ferrando

One particular thing struck me about the leading singers on this occasion: None of them had their eyes glued to the conductor. Singers who sing to lovers, tormenters, wounded children or God while keeping an eye on the baton the whole time are often a necessary evil, a whimsy one grows used to, but it was a pleasure to have the stars of this revival, though they never lost the beat (and conductor Marco Armiliato never let Verdi’s powerful rhythms fade or grow less than propulsive), looking at each other the entire night. They were in it, they were on it. This is one of those professional touches you hardly notice if you’re not looking for it — and are accustomed to too many singers who can’t manage it.

TROVATORE_Racette_and_Tatum_9086a.pngPatricia Racette as Leonora and Renée Tatum as Inez

You seldom get four top stars in top form in a Trovatore, but the opera calls for just that. On this occasion no one sang badly but the glitter was seldom gold. The men had it rather over the women; their voices seemed better designed for singing Verdi. One felt in especially good hands with the Count di Luna of Željko Lučić, who makes one think the great days of the Verdi baritone live again. His “Il balen” was flawless, the long, long line filling the house without effort, each note on the proper pitch as though his throat could not consider putting it anywhere else. I don’t remember there being quite so much bladework in this production, but Lučić certainly startled the house when he drew his sword through his hand, drenching it in blood, in his determination to possess Leonora. He held his own in the confrontational duets and trios, too.

Marcelo Álvarez sang his offstage serenades beautifully (to the accompaniment of a harp that never appeared — hey, guys, he’s a troubadour, y’know?) but his double aria in the besieged fortress seemed on the gruff side and he ran out of voice by the time of the dungeon scene. Hoarseness seemed to be the problem; perhaps, like Franco Corelli, he should conceal glasses of water around the set. His canteen in Act IV seemed not to have been filled, and he needed it. He looked a romantic enough figure whenever he did not stand in profile.

Patricia Racette’s Leonora is not the loopy teenager jumping around the set played by Sondra Radvanovsky in this production: Leonora may be a teenager, but she’s a lady of high Spanish birth, and she knows it; Racette knows it, too. Spanish grandezza used to mean something, and Verdi’s Leonora is that sort of dignified character.

TROVATORE_Lucic_and_Racette_7337a.pngŽeljko Lučić as Count di Luna and Patricia Racette as Leonora

Racette is such an intelligent singer, so persuasive in her understanding of predicament, that I wish I liked her voice better. Her instrument always seems too small for the Met. She manages very professionally, but the voluptuous floods of sound that other sopranos have brought to the role, the voice that seems to define Leonora’s desperate heart and new-awakened passions, are not at Racette’s disposal. Her “Tacea la notte” was fascinating as vocal storytelling, but the tidal rise at its conclusion did not overflow. “Di tale amor” was, as it usually is, a bit of a mess, drawing no applause — Sutherland is the only soprano I ever heard sing it flawlessly, and the rest of her performance was inert. (“Di tale amor” is one of the few cases where I’d like to take his Orsinitá the composer aside and say, sternly, “Maestro, this tune isn’t good enough; go write a new one.”) The convent scene was no celestial flight, and Racette seemed out of breath in much of Act IV; there were many thin notes and others not precisely where one wanted them. Racette coped with the part but she did not take joy in it, or exploit its opportunities.

Marianne Cornetti has the heft for Azucena, but it takes her an awfully long time to warm up. Her “Stride le vampe” was loud but pitchless. Only at the end of the “Condotta” did she give evidence of the ferocity of a maddened Gypsy — her final notes actually brought forth the first responsive “echo” I’ve ever heard at the Met! The dungeon serenade, however, gave Cornetti place for her most beautiful singing of the night.

Alexander Tsymbalyuk, as Ferrando, has a clear, persuasive young bass but he bleats a bit. Renée Tatum was not the first confidante in my experience to make us all wish Inez had more to sing. The monks’ offstage “Miserere” in Act IV was downright heavenly, evidence of what those guys can accomplish when they’re not swashbuckling around shirtless, fighting with knives and spitting in each other’s faces, as they were obliged to do at other times.

TROVATORE_Cornetti_and_Alvarez_9001a.pngMarianne Cornetti as Azucena and Marcelo Álvarez as Manrico

The acting from all hands gave evidence of a bent towards melodrama. This is not out of place in Trovatore, of all operas, but many were the moments (“Ah sì, ben mio,” for example) when I felt the singers would give Verdi his due and us a better time if they’d stand and deliver in the old-fashioned way, instead of emoting like antsy banshees, losing their breath and tripping over their own feet.

The omission of nearly all cabaletta repeats implied a desire not so much to energize the occasion as to get it over with. That’s no way to do Trovatore; Trovatore must breathe.

John Yohalem

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):