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After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.