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

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

The Gardeners: a new opera by Robert Hugill

‘When war shall cease this lonely unknown spot,/ Of many a pilgrimage will be the end,/ And flowers will shine in this now barren plot/ And fame upon it through the years descend:/ But many a heart upon each simple cross/ Will hang the grief, the memory of its loss.’

Richard Jones's Boris Godunov returns to Covent Garden

There are never any real surprises with a Richard Jones production and Covent Garden’s Boris Godunov, first seen in 2016, is typical of Jones’s approach: it’s boxy, it’s ascetic, it’s over-bright, with minimalism turned a touch psychedelic in the visuals.

OPERA TODAY ARCHIVES »

Performances

Ferruccio Furlanetto as Don Quichotte [Photo courtesy of Teatro Massimo]
19 Nov 2010

Il Viaggio a Sicilia

As I strolled around the corner into Piazza Verdi, my first view of Palermo’s Teatro Massimo Vittorio Emanuele stopped me dead in my tracks and damn near took my breath away.

Il Viaggio a Sicilia

See cast lists below

Above: Ferruccio Furlanetto as Don Quichotte

All photos courtesy of Teatro Massimo

 

Happily, once inside this spectacular architectural marvel, the production of Don Quichotte was similarly chockfull of awesome surprises and considerable beauty.

Palermo, to be sure, is one of Italy’s leading companies and they stake their reputation on a well-considered mix of tried and true stars, standard and adventurous repertoire. In this instance, they began by engaging the world-renowned director Laurent Pelly to work his magic with a lesser Massenet opus, one more famed in our imagination as the Cervantes source story than this diluted French opera rendition. As a piece of composition the work is curiously paced, at times rip-snorting, more often gently introspective as dictated by the librettist’s erratic choices of which iconic episodes to feature and, more telling, which to omit.

Mr. Pelly’s fertile imagination is fully engaged here, and he made me believe this is a more significant opera than it really is. His overall concept centers around the conceit that Massenet himself is onstage as the protagonist and he morphs into Quixote as he pens the work. He was ably supported by the ingenious scenery created by Barbara de Limburg Stirum. She featured heaping mounds of manuscripts that first formed a staircase of sorts to Dulcinée’s balcony, and later actually created the massive rolling hills of the countryside. Highly impressive and impressionistic, this proved a perfect complement to the score’s aural palette.

Pelly not only masterfully moved the large chorus through meaningful staged numbers, but maintained exceptional focus on the interaction of his principals. The fluidity of crowd scenes and the clarity of the story-telling were always infused with generous heart and good dramatic purpose. And wit. Let us not forget wit. To wit:

The famous “tilting at windmills” was arguably the visual highpoint of the night. First, a windmill blade flew in from on high, then another unfolded from it and in a twinkle there was a dazzling windmill in full rotation. But unlike, say, Man of La Mancha which relegates the actual battle to an offstage moment, Laurent and Barbara contrived a sensational visual effect, having Quixote first settle into what looks to be a rocky seat that is part of the landscape. But, whoa Nelly, this seat soon pokes forward from the hillside on a giant arm bearing our hero aloft toward the slicing blades. But that’s not yet all. It then begins a crazed dip-and-soar like the old Octopus ride at the county fair. It was so dazzling that it became a hard act to follow.

TMassimo-Don-Quichotte-02.gifIrini Karaianni as Dulcinée and Ferruccio Furlanetto as Don Quichotte

But the team had more in store. Act IV featured an extensive terrace and staircase placed neatly atop the hillside of papers, and was fleshed out with other highly evocative images such as having Dulcinée dance with three men sporting tall, skinny horse head masks/hats. Not only powerful sexual imagery, but also a nice touch of spice to flavor the drawn out conflict in the scene. If I had one wish scenically, it would be that they not have taken time to close the curtain, remove the terrace and restore the hills to their previous unadorned state for Act V. It took the dramatic momentum away when the piece could least afford it, and visually it did not make any notable effect.

Oddly, the director has the leading man die standing up, albeit leaning, skewed at an angle, obviously braced somehow. He was beautifully lit in a pool of golden light (did I mention the excellent, ever shifting lighting was by Joel Adam?) but I wondered if the effect was worth the effort or worth the wait. This production was shared with Brussels’ Theatre Monnaie/DeMunt, and re-staged by Diane Chèvre-Clément. Should it be re-mounted, I might suggest they simply pull Quixote and Sancho in front of the act curtain seamlessly after Act IV, light them in isolation, and just let Act V continue the emotional momentum and limpid musical atmosphere.

Evergreen bass Ferruccio Furlanetto showed splendid command of all his resources here, and his Don was noted for an outpouring of burnished tone, heartfelt phrasing, comic abandon (with no trace of buffoonery), and very decent French to boot. He effortlessly carried the show as any good Quixote must. And he was matched every step of the way by Eduardo Chama’s lively rendition of Sancho Panza. Mr. Chama has a bright, well-placed baritone that has good ping and responsive technique. He was a perfect foil for Mr. Furlanetto and the two set off dramatic sparks on many occasions. Too, Eduardo communicated a touchingly simple admiration for his master that illuminated every bit of pathos that Massenet intended. Furlanetto and Chama were a wholly winning, first-rate combination.

In the less well-written female role, the fetching Irini Karaianni brought much visual and aural pleasure to the proceedings with her quite bewitching Dulcinée. Her smoky mezzo has a hint of darkness overall, but the highest notes slipped into a rather bright upper extension. She does not press her chest voice, but nevertheless commands a decent amount of presence in the lower extremes. It is to her credit (and Pelly’s) that Ms. Karaianni manages to bring sympathy and a third dimension to one of the repertoire’s thinnest sketches of a character. The remaining quartet of principals was well-cast with Elisabetta Martorana a silver-voiced Pedro; Rachele Stanisci a persuasive Garcias; Salvatore Ragonese a secure Rodriguez; and first among equals, Gianluca Sorrentino, a honey-toned Juan.

Alain Guingal conducted lovingly and with such knowing detail that he seemed to wholly believe Don Quichotte is the masterpiece it isn’t. His players responded in kind with beautifully atmospheric ensemble work and solo passages ripe with musical personality. In a work that often relies on diffuse, languid effects Maestro Guingal found freshness and a pulsating arc from the first downbeat to the final cut-off. In tandem, Andrea Faidutti’s well prepared chorus sang cleanly even when frequently moving about in (slightly over-)choreographed scenes.

Teatro_Massimo.gifTeatro Massimo

On the other side of the island, Catania’s Teatro Massimo Vincenzo Bellini was taking no chances with such novel repertoire, opting instead for a wholly competent La Bohème. The company seems to favor double- and even triple-casting the leads during the run, with an eye to including a handful of performances featuring a major star. In this case, that would be Sicilian Marcello Giordani’s Rodolfo.

Mr. Giordani is a known commodity, of course, a tenor whose substantial lirico-spinto voice is wedded to a reliable technique, persuasive stylistic acumen, ringing power, and sound delivery. Having brought his Rodolfo to many of the world stages, he knows this part inside out, and sings it exceedingly well. Would it be carping to say I would have appreciated even more a bit of spontaneity in his portrayal? Or a little more gradation of volume below a standard mezzo forte?

The first surprise of the evening to me was the young baritone Vincenzo Taormina as Marcello. Mr. Taormina has a rich, robust baritone of uncommon beauty and substantial power; unaffected stage presence; and possesses a fine understanding of the nuance of musical and dramatic effect that can be found in any role. He was easily Mr. Giordani’s equal and their Act IV duet was a high point of the evening. Vincenzo also has the benefit of conveying a youthfulness that was at odds with his other “young” Bohemians. To be fair, Fabio Previati’s well-sung Schaunard was almost as believable, but Alessandro Busi seemed miscast as Colline at this point in his career. His singing was sincere and secure enough, although veering a bit off-pitch in the upper stretches of the Coat Aria. But although he threw himself into the camaraderie completely, visually he looked as out of place as a fifty year old in the Student Union cafeteria.

The show’s major revelation was Donata d’Annunzio Lombardi as Mimi. Hers is a beautifully schooled soprano, capable of all the requirements Puccini sets out for his heroine. Conversational, introspective musings? Check. Ability to soar over the amassed vocal and instrumental forces? Check. Skill in floating delicate, secure, melting notes? Check. She may have a bit more edge than other recent definitive Mimi’s like Freni and Scotto. But Ms. Lombardi definitely has all the goods, not only for Mimi, but Butterfly and Liu and, and, and. Watch for her as her star continues to rise.

Sabrina Vianello contributed the sort of chirpy, light-voiced Musetta that we hardly ever encounter nowadays. Perhaps she brought more stage savvy and spunk than middle voice to the part, but she was always entertaining and, in the final scene, moving. The treasurable comprimario Angelo Nardinocchi did effective double duty as Benoit and Alcindoro (the former in as ill-fitting a skull cap as I hope to never see again).

In the pit, conductor Carlo Rizzari got everything settled down after a clumsy start. The band began out of sync for the first few bars, then plodded through a generally uninvolved, overplayed first act. But lo, once past a couple of minor ensemble hiccups in Act Two, the maestro and the orchestra seemed to relax, breathe with the singers, and go on to some truly luminous playing in the second half the show. Tiziana Carlini had prepared her large chorus well, and the children were especially effective.

Director Roberto Laganà Manoli (also costume designer) and set designer Pierluigi Samartini generally played it safe with a pleasingly traditional, no nonsense mounting that punched all the right tickets. And why not? Left alone, in the hands of such wonderful artists, it pretty much plays itself. Not to say that Signor Manoli didn’t have a trick or two up his sleeve. Marcello is discovered at curtain rise on a mini scaffold painting a rather large canvas with (what I presume is) a witty nod to the opening of Tosca. When Colline bursts in with his booty in Act I, it is so substantial that three delivery boys have to help carry it in. The amassed choral forces at Momus were well managed, especially the positioning of hen well-tutored youth who were heard to maximum advantage.

On a few occasions there were misfires. An odd positioning of actors and indecisive spatial considerations made for an awkward hand holding set up to “Che gelida manina.” And some of Three was place too extremely left or right so as to render singers momentarily out of sightlines for a third of the audience. Too, while the sets were pleasant, it took way too long to change them, with the combined intermissions being longer than the piece itself.

Still, the SRO audience did not seem to care, and lingered long after curtain fall in the beautiful auditorium (one of Europe’s loveliest) to lavish the performers with extended ovations.

James Sohre

Cast lists:

Don Quichotte

Dulcinée: Irini Karaianni
Don Quichotte: Ferruccio Furlanetto
Sancho: Eduardo Chama
Pedro: Elisabetta Martorana
Garcias: Rachele Stanisci
Rodriguez: Salvatore Ragonese
Juan: Gianluca Sorrentino

Conductor: Alain Guingal
Director and Costume Design: Laurent Pelly
Set Design: Barbara de Limburg Stirum
Lighting: Joel Adam
Restaged by Diane Chèvre-Clément
Chorus Master: Andrea Faidutti

Co-production with La Monnaie-De Munt, Brussels

La Bohème

Mimi: Donata d’Annunzio Lombardi
Rodolfo: Marcello Giordani
Musetta: Sabrina Vianello
Marcello: Vincenzo Taormina
Colline: Alessandro Busi
Schaunard: Fabio Previati
Benoit/Alcindoro: Angelo Nardinocchi
Parpignol: Michele Mauro

Conductor: Carlo Rizzari
Director and Costume Design: Roberto Laganà Manoli
Set Design: Pierluigi Samartini
Lighting Design: Salvatore Noè
Chorus Master: Tiziana Carlini

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):