11 Dec 2010
Cecilia Bartoli at the Barbican Centre, London
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
You sense that many people would be happy to listen to her whatever the repertoire. So, it was heartening to find that for her Barbican Centre concert, Bartoli devoted so much time and care to Handel’s operatic output and generating such enthusiasm for material which can still be regarded as specialist.
After exploring the life and work of Maria Malibran and the music written in Italy for the castrati, Cecilia Bartoli was back on more familiar territory at her concert at the Barbican Centre, London on Wednesday 8th December. She sang a sequence of arias from Handel’s Italian operas including substantial extracts from Giulio Cesare with Argentinian counter-tenor Franco Fagioli, accompanied by the Basel Chamber Orchestra.
Handel’s major operas were written for some of the greatest singers of the day; great talents can articulate the drama within music and present the emotion behind the showers of notes. Technically Bartoli is amazing, if idiosyncratic, but her greatest strength is neither as a technician nor as a stylist (thought she is strong in both these areas). Where she excels is in telling a story and drawing the listener in.
When not singing her stage manner was a little too winsome for my taste. But when the music started she was transformed. Rarely have I been at a recital where each aria was so strongly presented with its own character. For the opening sequence, the overture and two of Armida’s arias from Rinaldo she was transformed into the sorceress, her musical gestures matched by flashing eyes and dramatic arm movements.
This drama was then contrasted with a light bright aria from Lotario, a charming simile aria where Handel’s plays with the text (about a little boat in the breeze on the ocean) by adding running passages in the music.
The orchestra then played the Allegro from Veracini’s Overture No. 6 in G minor. Veracini was a violinist, contemporary of Handel, who came to London and had some success with his concerts. He also ventured into the operatic sphere, with less success, though his operatic version of As You Like It sounds intriguing.
Bartoli then returned with “Ah! Mio cor” from Alcina, sung with great power but also a strong sense of line. In this aria, Bartoli presented Alcina as a quicksilver, captivating woman and you wanted to hear more of her in the role. Her mercurial take on the aria was in fascinating contrast to Inga Kalna’s account of it at the recent complete performance of Alcina at the Barbican.
The orchestra then played two short overtures by Porpora, another contemporary and rival of Handel’s. Both from cantatas written late in his career after he had left London. Full of dramatic contrasts and striking orchestrations, they seemed effective preludes rather then works in their own right.
In “M’adora l’idol mio” from Teseo, Bartoli was paired brilliantly with solo oboe, the pair creating a sparkling duet partnership in the complex passage-work in the aria. Whilst it would be fascinating to hear Bartoli as the sorceress Medea from this opera, her account of this aria for the opera’s heroine Agilea was everything that it should be. But she turned to another evil sorceress, Melissa from Amadigi di Gaula for the closing item in part one, “Destero dall’empia Dite” in which Melissa threatens to raise every fury from hell, with the help of solo oboe and trumpet. Another bravura showpiece which Bartoli turned into a mini drama.
Both this and the preceding item were performed with recitative .I think this makes all the difference to a baroque aria and could have wished that Bartoli had included more; she is after all Italian and her was with the words is vivid.
Bartoli’s Cleopatra, a role which she has sung on stage, was richly coloured and fascinatingly varied, giving us a tantalising glimpse of what her performance of the full role might be like. “V’adoro pupille” was erotic but aristocratic, though it was a shame that the accompaniment lacked Handel’s full orchestration here. “Se pieta” was perfectly judged, showcasing Bartoli’s marvellous way with line, musical and dramatically involving. Finally “Da tempeste” was all that you could imagine, brilliant, charming and vivid.
Fagioli’s Cesare was not quite yet in the same league. He has an attractive, high counter-tenor voice with a strong vibrato and quite a feminine cast. His voice lacks the edge which some counter-tenors have and this was something that I missed in this music. “Va tacito” was superbly sung with fine solo horn playing, but lacked that element of danger which needs to underlay the music. His voice seemed too soft grained for the dramatics of “Al lamp dell’armi” but he did interpolate some superb high notes in the da capo. But the lyric beauty of “Aure, deh, per pieta” suited his voice perfectly. Finally Bartoli and Fagioli joined a lively performance of Cesare and Cleopatra’s duet from the opera.
This was a long and generous programme with Bartoli singing 8 substantial arias plus duet. In response to the enthusiasm of the audience at the end we were treated to 3 encores, one from each singer and a duet from Rinaldo.
Bartoli’s choice of arias seemed to highlight two particular ways she has of performing baroque music. Lyrical music was sung with gloriously long lines, floated beautifully and emphasising high quietness. There were moments which reminded me of Caballe’s habit of opening recitals by singing a group of arie antiche with the music placed high in the voice and floated in a glorious pianissimo. There was something of this showing off in the way Bartoli placed many of the high lying passages. In contrast passage-work was sung in her distinctive, robust manner. This is something you either love or hate, the way that her intense, vibrato laden voice moves round the running passages at high speed creating a remarkable, and distinctive effect. I must confess that on disc I have found this sometimes rather difficult to take, but that heard live the effect was less disturbing and I could relax and appreciate the artistry that was going into the performance.
The Basel Chamber Orchestra, leader Julia Schröder performed without conductor, a nice sized group with 18 string players. From the first notes of the overture to Rinaldo they gave the music a fresh, crisp, newly minted feel. All the solo instrumental parts were superbly played and we even got a wind machine in the opening aria. The group were far more than just support and made themselves fine partners in Bartoli’s performances.
Bartoli held the audience spellbound for this long programme of baroque arias, something not every singer could do. All I wish for now is that we could hear her in a complete opera.