Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



UCP_9780226043425.gif

Recently in Interviews

Michele Mariotti conducts La donna del lago

Rossini’s La donna del Lago at the Royal Opera House boasts a superstar cast. Joyce DiDonato and Juan Diego Flórez are perhaps the best in these roles in the business at this time. Yet the conductor Michele Mariotti is also hot news.

Kate Lindsey at Glyndebourne

It would seem a logical step for the mezzo-soprano Kate Lindsey to take on the role of the Composer in Richard Strauss’s Ariadne auf Naxos.

Douglas Boyd on Garsington Opera at Wormsley

“Aim for excellence”, says Douglas Boyd, new Artistic Director of Garsington Opera at Wormsley, “and the audience will follow you”.

A Chat with Aida Designer Zandra Rhodes

When I spoke with Zandra Rhodes, she was in her large San Diego workspace, which she described as having walls decorated with her own huge black and white drawings.

An Interview with Virginia Zeani

Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).

Bel Canto Queen Jessica Pratt

When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.

Michael Spyres: Star Ascendant

When tenor Michael Spyres takes the stage at Carnegie Hall on December 5th, he will be in heady company.

Rewriting the Unwritten Law: Gilliam and Ghent Tackle Damnation

One of the most noteworthy and controversial productions in recent memory arrived in Belgium with hurricane force as Director Terry Gilliam’s inaugural opera, an inspired interpretation of Hector Berlioz’s Le Damnation de Faust, blasted into Ghent, followed by a run in Antwerp.

Florian Boesch on Schubert’s Die schöne Müllerin

Florian Boesch is singing Schubert’s Die Schöne Müllerin at the Oxford Lieder Festival on Sunday 14th October. This won’t be routine. Radically challenging conventional interpretation, Boesch says “I don’t believe it ends in suicide”

Opera Tomorrow: Wolf Trap Today

Three quarters of the way through this discussion, a question that inhabits the mind of anyone putting any thought to the subject — but no one dare ask — was rhetoricised, “what is opera?”

Laurent Pelly on Glyndebourne's Ravel Double Bill

The Glyndebourne Festival highlight this year could be the Ravel double bill - L’heure espagnole and L'enfant et les sortilèges. Laurent Pelly directs. Anyone who saw his brilliant Humperdinck Hansel und Gretel at Glyndebourne in 2008 will know what to expect - a staging of great imagination and verve, true to the spirit of the composer.

Garsington Opera at Wormsley

Director David Freeman tells why this is an event worth experiencing in the Olympic year.

Gerald Barry: The Importance of Being Earnest

Irish composer Gerald Barry’s opera The Importance of Being Earnest premieres at the Barbican, London on April 26th. It is a joint commission between the Barbican and the Los Angeles Philharmonic.

Bryan Hymel, Rusalka’s Prince

New Orleans native Bryan Hymel is singing the role of The Prince in Antonin Dvořák's Rusalka at the Royal Opera House, London.

Carmela Remigio as Donna Anna and Donna Elvira

Carmela Remigio is a Mozart specialist, having created Donna Elvira, Donna Anna, The Countess in Le nozze di Figaro, Susana, Ilia, Ellettra, Vitellia, Pamina and Fiordigli. She speaks to Mark Berry about her latest Donna Anna at the Royal Opera House.

Interview with Lise Lindstrom — An Intelligent Soprano’s Guide to Turandot and Salome

Lise Lindstrom, who made a notable splash in the opera world (debuts at La Scala and at the Met) with her portrayals of Giacomo Puccini’s Turandot, has recently undertaken the still more demanding role of Salome.

Vivica Genaux — An Interview

I spoke with Vivica Genaux in December 2011, when she stopped in New York at the end of one of her concert tours.

Piotr Beczala

Piotr Beczala, the Polish lyric tenor, stars in the current La Traviata at the Royal Opera House, London.

“Opera is like a tree” — ZhengZhong Zhou

In Gounod’s Faust at the Royal Opera House in October 2011, Zhengzhong Zhou is alternating with Dmitri Hvorostovsky in the part of Valentin. Alternating, not covering or substituting. Since Zhou is very young, it’s quite a challenge.

Luca Pisaroni sings Handel at Glyndebourne

Luca Pisaroni is one of one the more exciting young bass-baritones of his generation. In July 2011, he sings Argante in the first ever Handel Rinaldo at the Glyndebourne Festival.

OPERA TODAY ARCHIVES »

Interviews

Alessandro Corbelli
07 Nov 2010

New Adriana Lecouvreur in London — Alessandro Corbelli

A completely new production of Francesco Cilea’s Adriana Lecouvreur is coming to the Royal Opera House, London.

New Adriana Lecouvrer in London — Alessandro Corbelli

An interview by Anne Ozorio

Above: Alessandro Corbelli

 

The whole cast is new to the opera. There's excitement backstage. Alessandro Corbelli speaks about the production in which he sings Michonnet.

“We are all making our debuts this time”, says Corbelli, who has many years of experience, and is well respected. “It’s new for all of us, the conductor (Mark Elder), the stars and the comprimario. Rehearsals started early for the prima on 18th November. “We’re all excited, everything is going well. And it’s set in period with period costumes”. The director is David McVicar and designs are by Charles Edwards.

Corbelli worked with Mark Elder in Linda di Chamounix in September 2009. “I know his way of working. He helps me extract the best from my voice and the character. Everything is based on the music. He knows the Italian language well, and even the different regional accents. That’s very unusual for a non-Italian conductor”.

“This is verismo, Cilea’s music comes from spoken language, very high notes for the soprano, Angela Gheorghiu”. Is Italian the language of music? “I hope so!” smiles Corbelli, whose reputation is built on extensive experience in Italian repertoire.

In Cilea’s Adriana Lecouvreur, Corbelli is singing Michonnet. “Michonnet is the Stage Manager at the Comédie-Française where Adriana is the star. So he has influence and is very involved in how the plot develops. He was Adriana’s teacher, so he knows her very well. He’s in love with her. He wants to show his feelings, but she confides in him that she’s in love with a young Saxon. Michonnet is wounded, but he’s sensitive and caring. He knows he’s much older than Adriana and wants her to be happy. He knows she’s depressed about her love affair. So even though he loves her, he tries to help her by sending a letter to Maurizio”.

“When Michonnet discovers that the Princess de Bouillon is in love with Maurizio, he knows the rivalry will be trouble. He wants to protect Adriana and keep her calm, but it doesn’t work. Adriana explodes with strong emotions. Then the poisoned violets come, and she dies”

“In my opinion”, adds Corbelli, “The Princess is young like Adriana. The Prince is much older and has affairs with other women. So when the Princess falls in love with Maurizio, she can’t stand competition. Michonnet is kind hearted. He’s a good man, but he cannot stop the tragedy”.

Since his debut at the early age of 22, Corbelli has become an outstanding exponent of bel canto and Mozart roles for baritone. He has sung in all the major opera houses, including La Scala since 1989, and The Metropolitan Opera, New York where he debuted in 1997. He is a regular at the Royal Opera House, London where most recently he sang Don Geronio in Il Turco in Italia and Sulpice in La Fille du Regiment. (Please read the respective reviews in Opera Today. here and here)

Next season, he’s singing Taddeo in Paris, Dulcamara in Munich, Don Alfonso in Vienna, Bartolo and Falstaff in Toulouse and Don Pasquale in Santiago de Chile. He’s booked until 2015.

Corbelli is celebrated as a character singer. The ease with which he creates such diverse roles indicates great acting skills. “They didn’t teach that when I was training”, he says. “But I’m always learning, on stage and by watching and listening to others. He’s created both Dandini and Don Magnifico in La Cenerentola, both Don Pasquale and Dr. Malatesta in Don Pasquale. “Of course, not at the same time!”, he bursts out laughing. Good character singing comes from wit and observation.

Anne Ozorio

For more information, please see the Royal Opera House website
Adriana Lecouvreur runs from 18th November to 10th December 2010 and stars Angela Gheorghiu, Jonas Kaufmann, Alessandro Corbelli, Michaela Schuster and Maurizio Muraro.

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):