11 Dec 2010
Cecilia Bartoli at the Barbican Centre, London
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
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Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
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An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
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.