11 Dec 2010
Cecilia Bartoli at the Barbican Centre, London
Cecilia Bartoli is something of a phenomenon, capable of attracting an enthusiastic capacity crowd.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.