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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.”
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.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
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.
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.
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.
Never thought I’d say it but......
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.
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.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
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.
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.
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.
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.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
31 Dec 2010
Adriana Lecouvreur at Teatro Regio Torino 2009
The Royal Opera at Covent Garden just made something of a splash in international opera news with a star-encrusted revival of an opera once quite popular and yet in recent years — Francesco Cilea’s Adriana Lecouvreur.
With multiple set pieces for its three leads, all gloriously melodic, and an unashamedly melodramatic tale mixing aristocratic intrigue and backstage theatrics, many might wonder why this almost proto-typical Italian opera relinquished its once-proud place in the repertory. For anyone too impatient to await the inevitable DVD release of the Covent Garden production (with Angela Gheorghiu, Jonas Kaufmann, and Olga Borodina), there is a 2009 staging from Turin with a capable cast available. Unfortunately, this Turin production mostly serves to make one understand the opera’s relative neglect in recent decades.
Director Lorenzo Mariani goes for a gambit increasingly popular — a spare physical production almost “regie”-like in its setting of the scene through a handful of props in an open space, while stamping through this somewhat abstract environment are characters in completely traditional costume, and quite opulent ones at that. This gambit allows the director to please the more conservative opera-goer (those most likely to be attracted to this opera) and yet allows for swift scene changes and at least provides a nominal acknowledgment of contemporary opera design. The gambit doesn’t do much to make the convoluted plot mechanics of Arturo Colautti and Ernest Legouvé’s libretto any more believable. Somehow court protocol requires Maurizio to dissemble affection for a married Princess, while carrying on a secret love affair with the actress Adriana Lecouvreur. Since Maurizio does not entrust Adriana with this information, so when she learns the truth she and the Princess curse each other in mutual rage. The aristocrat has more to lose and the power to avoid detection in seeking revenge, which leads to a protracted death scene for Adriana, after sniffing a poisoned bouquet of flowers. Supposedly the original source material of Eugène Scribe’s play had a historical precedent, but even if the details are correct (extremely unlikely), as staged, the opera’s action veers from the dull to the ridiculous.
So what a successful production needs is star-power — glamorous voices in appealing form who can let the music rip and help an audience forget the nonsense on stage. Perhaps that is what happened at the above-referenced Covent Garden run. But not in Turin. Marcelo Álvarez’s lyric instrument finds the role of Maurizio more suitable than some of the heavier ones he has taken on in recent years. His breath control and consistency of production cannot be seriously faulted. He simply has little imagination, either as singer or actor, so the music lacks that spark of life that might help a viewer believe momentarily an actual character is on stage, and not an over-costumed singer. The tenor has more to offer than his female co-leads, however. In the title role Micaela Carosi brings volume and an unwieldy vibrato, so any flicker of pathos in her character never flames into life. Although well-equipped with a solid mezzo voice, Marianne Cornetti is not favored by her costume, and she never makes a creditable rival for Lecouvreur. The best performance comes from Alfonso Antoniozzi as Michonnet, director of the theater where Lecouvreur acts. He doesn’t have much to do, but he manages to convince us, while he is on stage, that Lecouvreur is someone we should care about.
Cilea’s score veers from the heights of melodiousness to the depths of murky, protracted scene-setting. In the opening scene of backstage chaos, TV director Matteo Ricchetti indulges in frantic quick edits that are more annoying than effective. Thankfully he settles down after that scene into acceptable competence. Conductor Renato Palumbo elicits some silky sounds from the house forces. The Blu-Ray picture only makes its distinctive clarity felt in scanning the stitching of the costumes; the sets don’t offer much to look at.
Particular fans of these singers or this opera need not be dissuaded. Patience may well be rewarded for others curious about this opera when/if the Covent Garden production appears on the shelves.